Lux Radio Theater: Suspicion (Encore) (A0050)

Summary

The Great Detectives of Old Time Radio

Episode: Lux Radio Theater: Suspicion (Encore) (A0050)

Date: January 3, 2026
Host: Adam Graham
Feature Presentation: Lux Radio Theater adaptation of “Suspicion” (originally aired September 18, 1944)
Starring: Olivia de Havilland as Lena, William Powell as Johnny, Charles Irwin as Beaky

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Overview

In this special episode, host Adam Graham presents a rebroadcast of the Lux Radio Theater’s production of Suspicion, part of an ongoing Olivia de Havilland tribute. The radio play, an adaptation of the Hitchcock film, is a suspenseful romantic thriller exploring love, mistrust, and fear. Following the story of Lena, a wealthy woman who finds herself entangled with Johnny, a charming but questionable husband, the episode delves into the psychological unraveling of trust and the dangers of not truly knowing those closest to us.

Adam’s post-show commentary reflects on the impact of recasting, performances, and the way the radio adaptation navigates Hitchcockian suspense.

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Key Discussion Points & Insights

1. Introduction by Host Adam Graham

• [00:36] Adam welcomes listeners and introduces the temporary programming break, promising a return with Tarzan and encouraging exploration of his other radio series.
• Olivia de Havilland Tribute: Listeners are informed that this episode is part of a tribute to Olivia de Havilland, chosen by Patreon supporter Gary.
• Set-Up: The main feature is the 1944 Lux Radio Theater adaptation of Suspicion, starring Olivia de Havilland and William Powell.

2. Lux Radio Theater’s “Suspicion” (Dramatic Content)

• [02:30 – 55:00+]
• Premise: Lena, an upper-class Englishwoman, hastily marries the dashing but improvident Johnny Aysgarth. As financial secrets and lies surface, Lena’s love for Johnny becomes increasingly tainted by fear and suspicion, culminating in her belief that Johnny may be capable of murder.
• Themes:
  • The interplay between love and mistrust.
  • The dangers of marrying in haste.
  • Psychological suspense and fear—what do we really know about those we love?

Notable Plot Beats and Moments:

• Early Affection and Doubt
  • Lena is swept off her feet by Johnny’s charm (often calling her “Monkey Face”), despite family warnings about his reputation.
  • Lena discovers Johnny’s lack of funds and his tendency toward financial recklessness after marriage.
  • Early clues of duplicity—selling family heirlooms and secret gambling debts—set Lena on edge.
  • Memorable Quote [13:33]:
    • Lena: "Were you thinking of my inheritance when you... Oh, I don't know what to say."
    • Johnny: "Isn't it silly to spend the best years of our lives waiting? Why not be comfortable?"
• Mounting Suspicion
  • Discovery that Johnny has lied about the sale of her family’s valuable chairs.
  • Beaky, Johnny’s friend, unintentionally exposes Johnny’s ongoing deceit and gambling addiction.
  • The pivotal “real estate scheme”—Johnny proposes a business venture using Beaky’s money, raising further alarms.
  • Memorable Quote [34:46]:
    • Johnny: "If I say it’s good, it’s good. But I don’t want any interference from you or anyone else. Is that clear?"
  • The use of the word “murder” in an anagram game becomes an ominous motif.
• The Cliff, Paris, and Beaky’s Death
  • Lena becomes tormented by the thought that Johnny is plotting murder—her own (with a harrowing car ride by a cliff) or Beaky’s.
  • Beaky’s mysterious death in Paris by brandy poisoning sharply escalates Lena’s fears.
  • Johnny’s suspicious inquiries about untraceable poisons and life insurance intensify her certainty he is a killer.
  • Memorable Quote [48:03] (Insurance Letter):
    • "Payment can only be made in the event of your wife's death..."
• Confrontation and Revelation
  • Lena, physically and mentally breaking down, prepares to flee. In the climactic car ride, Johnny stops her from trying to escape—an ambiguous, fraught confrontation.
  • The tense reveal: Johnny had not been in Paris and, though guilty of financial misdeeds, had not committed murder. Both confront their lack of trust and the toxicity built from lies and suspicion.
  • Memorable Quote [56:01]:
    • Johnny: "People don’t change overnight, Leah. I’m no good."
    • Lena: "Let’s turn back, Johnny. Let’s go home and see it all through together."
• Resolution: The episode ends on a fragile note of possible reconciliation, emphasizing forgiveness and shared responsibility.

3. Post-Episode Commentary by Adam Graham

• [62:16]
  • Alternate Casting: Adam notes the interest of hearing Olivia de Havilland in a role originally played on film by Joan Fontaine, observing how substitute leads can change the dynamic of familiar stories.
  • Performance Notes:
    • De Havilland’s performance is “gets us invested in her emotions...as well as understanding and believing in her feeling of being threatened.”
    • William Powell “does not make much of an attempt to be British...but that wasn’t totally unheard of for the era.”
  • Story Insight:
    • The story’s “Hitchcockian” bent sets up expectations for a dark, sinister ending but subverts it—ultimately, the danger is psychological, rooted in mistrust rather than villainy.
    • Lena’s fears are rational given Johnny’s deceptions, marrying too quickly, and emotional distance.
    • The episode offers “a really interesting and different dynamic, particularly if you come into it thinking...‘It just turns another direction than you would typically expect.’”

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Notable Quotes & Memorable Moments

• On Love and Honesty:
  • “You’re the first woman I’ve met who says yes when she means yes.” – Johnny to Lena ([10:14])
• On Betrayal and Disillusion:
  • “You sold the chairs to gamble all your money on a horse.” – Lena ([26:36])
• On Suspicion and Paranoia:
  • “Murder. The cliffs overlooking the sea...stay away, Beaky. He’ll put you off, he’ll kill you. Murder. Murder. Murder.” – Lena’s inner monologue ([36:33])
• On Facing the Truth:
  • “You mean you were in Liverpool when Beaky...then you didn’t go to Paris?” – Lena ([55:31])
  • “People don’t change overnight, Leah. I’m no good.” – Johnny ([56:01])

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Important Segments & Timestamps

• [00:36] – Adam's introduction and background on the episode.
• [02:30] – Start of Lux Radio Theatre’s “Suspicion.”
• [13:33] – Lena confronts Johnny about money and inherited wealth.
• [26:36] – Lena discovers Johnny’s irresponsible gambling.
• [34:46] – Johnny asserts dominance in the business scheme, pushing Lena away.
• [36:33] – The murder anagram game, heightening Lena’s paranoia.
• [48:03] – Lena receives a letter about her life insurance, fueling her fear.
• [54:23] – Climactic confrontation during car ride by the cliff.
• [55:31] – Johnny explains his actions, leading to revelation and fragile reconciliation.
• [62:16] – Adam’s post-show commentary and analysis.

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Tone and Language

The overall tone of the episode is suspenseful, romantic, and psychologically driven—language reflects heightened emotions, tension, and rapid shifts between love and fear. Adam Graham’s post-episode analysis is thoughtful, lightly humorous, and respects both the strengths and quirks of old-time radio storytelling.

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Summary Takeaway

This episode of The Great Detectives of Old Time Radio offers both a gripping vintage mystery—exploring how suspicion can poison love—and a thoughtful meditation on performance, adaptation, and the enduring power of classic radio drama. Olivia de Havilland and William Powell bring new textures to a Hitchcockian thriller, while Adam Graham’s commentary helps modern listeners situate and appreciate the nuances and choices in this old-time radio gem.

Transcript

[Johnny]

Save over $200 when you book weekly stays with VRBO this winter.

[Lena]

If you need to work, why not.

[Johnny]

Work from a chalet? If you haven't seen your college besties since, well, college you need a week to fully catch up in a snowy cabin.

[Lena]

And if you have to stay in.

[Johnny]

A remote place with your in laws.

[Lena]

You should save over $200 a week.

[Johnny]

That's the least we can do. So you might as well start digging out the long johns because saving over $200 on a week long snowcation rental is in the cards book [e-mail].

[Adam Graham]

Hello, this is your host, Adam Graham. The great adventurers of old Time Radio is taking a break from posting new episodes, but we are sharing some adventure themed episodes of other podcasts I've done over the years until we return on January 11th for the premiere of Tarzan. In the meantime, please enjoy this episode which was originally released as part of the Amazing World of Radio. If you'd like to listen to more episodes of that series, please check it out at amazing greatdetectives.net but now on with today's show. Welcome to the Amazing World of Radio from Boise, Idaho. This is your host, Adam Graham. If you have a comment, email it to me. Box [e-mail] well, our Olivia de Havilland tribute continues. Olivia de Havilland did a lot of radio adaptations of films, her own as well as others. And so essentially sitting there looking at all of these adaptations, all of the great leading men she played beside, I was having difficulty narrowing down which episodes to bring to you, so I asked my Patreon supporters for some help. And Gary writes in on Patreon. I would like to hear Suspicion. And that's what we're going to bring you. Suspicion, starring Olivia de Havilland and William Powell. The original air date is September 18, 1944. Let's go ahead and take a listen.

[Johnny]

Lux presents Hollywood. Deluxe Radio Theater brings you William Powell and Olivia de Havilland in Suspicion. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Not long ago, a noted editor sat down to figure out what he called the basic elements of human interest, that is, the things that interest people most and motivate their thoughts and actions. Love, of course, was at the top of the list. And close after love came fear and then curiosity. Tonight, in the Lux Radio Theatre play, the RKO screen hit Suspicion. We have a mixture of these elements. Two people very much in love, whose lives are shadowed by a dark fear and bitter curiosity. And out of this combination comes What I think you'll agree is one of the most absorbing dramas of our time. And to do full justice to it, we have as our stars that able master of mystery, William Powell, and the ever versatile and lovely Olivia de Havilland. In just a moment we will start to satisfy your curiosity. But first, don't forget that we want you to satisfy our curiosity on an important matter. Our 10th anniversary celebration, four weeks from today. We'd like you to help us select the play and stars you want to hear on that eventful date, October 16th. Write your choice on a postcard. Address it to me at Post Office Box 9, Hollywood 28, California. Your suggestions and your interests are what makes the Lux Radio Theater a truly national institution. Just as your purchases of Lux toilet soap help raise this curtain for you every Monday night, so you really get two prizes in one package of fine products and fine entertainment. The clock is pointing now to curtain time. And here's the first act of Suspicion, starring William Powell as Johnny and Olivia de Havilland as Lena. With Charles Irwin as Beaky.

[Lena]

Let me go. Let me go.

[Johnny]

Don't be a little fool. What's the matter with you?

[Lena]

Let me go.

[Johnny]

On a hilltop overlooking the English countryside, the trees bend low before the moaning wind. Smoke gray clouds weave swiftly across a smoke gray sky. Against this sky are silhouetted the figures of a man and a woman. The man's arms are about her shoulders. She struggles wildly, frantically, then breaks away again. His arms reach out. Her hands are caught and held as in a vise. What did you think I was trying to do? Kill you? Nothing less than murder could justify such a violent self defense. Look at you.

[Lena]

Let me go.

[Johnny]

Oh, I'm just beginning to understand. You thought I was going to kiss you, didn't you?

[Lena]

Weren't you?

[Johnny]

Of course not. I was merely reaching around you, trying to fix your hair.

[Lena]

What's wrong with my hair?

[Johnny]

Well, I'm glad you asked me that. It would have been extremely discourteous for me to bring the subject up.

[Lena]

Are you serious?

[Johnny]

Of course I'm serious.

[Lena]

You always give me the feeling that you're laughing at me.

[Johnny]

No, I give you my word.

[Lena]

What's wrong with my hair?

[Johnny]

Let me show you. Don't back away. I'm not going to hurt you. Let me see. Yes, this will do it. What are you thinking of?

[Lena]

A week ago I'd never even seen you.

[Johnny]

Oh, now here we are on a Sunday morning, missing church while I unbraid your hair.

[Lena]

I think you've done enough fooling with my hair.

[Johnny]

There. Got a mirror? You look Splendid.

[Lena]

I must be quite a novelty by contrast to the women you're photographed with in the newspapers.

[Johnny]

Oh, well. How do you like your hair? Don't screw your face up like that. You look like a monkey. What does your family call you? Monkey face.

[Lena]

I'll have to go now. I shall be late for luncheon anyway. If my father saw me come home both late and beautiful. Might have a stroke.

[Johnny]

Are you sure Ms. Lena isn't in her room, Burton? I knocked her just before I announced lunch.

[Lena]

She said she was going to church.

[Johnny]

Oh, what were you saying just before, my dear?

[Lena]

About Lena. I do wish she'd get married, Stanley.

[Johnny]

I don't believe Lena will ever marry. She's not the marrying sort of. Anyway, she's no need to worry. There'll be enough to take care of her.

[Lena]

I suppose you're right. I'm afraid she is rather spinsterish.

[Johnny]

What's wrong with that? The old maid's a respectable institution. And Lena has intellect and a fine, solid character.

[Lena]

Sorry I'm late. Oh, Lena, dear, come and sit down.

[Johnny]

Oh, Lena.

[Lena]

What kept you so long at church, dear? I didn't go to church. I went for a walk. A walk? With a man. A man? Yes. His name's John. John Aysgarth. Tom Aysgarth Boy.

[Johnny]

How did you meet him? Pity he's turned out so wild. Rough luck on Tom.

[Lena]

What do you mean?

[Johnny]

Well, he was turned out of some club for cheating at cars, wasn't he?

[Lena]

I don't know.

[Johnny]

I didn't ask him something unpleasant. Anyway, what's he doing down here?

[Lena]

He's staying at Pen's Hayes. I shouldn't have thought Lord Middleham would have had him there if he'd ever been turned out of a club for cheating.

[Johnny]

Well, perhaps it was a woman. He was correspondent or something, I believe. Or ought to have been correspondent.

[Lena]

Well, anyway, I'm going to see him again this afternoon. He's calling for me at three, Ms. Lindsay.

[Johnny]

You'll want it on the telephone.

[Lena]

Oh, thank you, Burton. Stanley, she seems quite excited. You propose. Hello? Oh, hello, Johnny.

[Johnny]

What?

[Lena]

Oh, yes, a long time ago. When are you coming at? Oh, you can't. Oh, yes, of course, I understand. Yes, please write and thank you for calling. Goodbye.

[Adam Graham]

Hello?

[Lena]

Yes, this is Ms. Mclaydorf. A telegram. Will you read it, please? I will see you. Yes, Thursday. Yes, at beecham. Hunt ball sign, johnny. Yes, I have it. Oh, johnny.

[Johnny]

I believe this is our dance, isn't it? Hello, monkey face.

[Lena]

Hello. Hello.

[Johnny]

Hello, monkey face.

[Lena]

Hello, Johnny.

[Johnny]

Come on, we're getting out of here.

[Lena]

But we can't.

[Johnny]

Of course we can. This way, monkey face.

[Lena]

Johnny, where are we going?

[Johnny]

Which is your car?

[Lena]

This is ridiculous. It's over there.

[Johnny]

Good. Come on. Tell me, have you ever been kissed in the car before?

[Lena]

Johnny.

[Johnny]

Johnny. What?

[Lena]

You mustn't joke with me. I'm no good at joking. I don't know how to flirt.

[Johnny]

Well, I'm not joking. I'm serious. Have you ever been kissed in a car? Never. Would you like to be? Yes. Well, you're the first woman I've met who says yes when she means yes.

[Lena]

What do the others say?

[Johnny]

I know. Anything, but yes.

[Lena]

But they kiss you?

[Johnny]

Well, usually.

[Lena]

Have there been?

[Johnny]

Have there been what, monkey face?

[Lena]

Have there been many?

[Johnny]

I'm afraid so. Quite a few.

[Lena]

Are you always frank with them like this?

[Johnny]

No. No, not particularly.

[Lena]

Then why are you frank with me? Because I'm different?

[Johnny]

No, it isn't that. I'm honest. Because with you I think it's the best way to get results.

[Lena]

Johnny, I hope I'm not saying the wrong thing, but I love you.

[Johnny]

No, you haven't said the wrong thing, monkey face. I think I'm falling in love. You, too? But I don't quite like it. That's why I stayed away from you for a week. I was afraid of you. I never thought it would happen like this.

[Lena]

Neither did I.

[Johnny]

Dear Mother and Father. Johnny and I were married last night.

[Lena]

Married?

[Johnny]

We're off for a month's honeymoon on the continent. Please forgive me. I love him very, very much. Let's put those scripts there. The food on them. How do you like your new house?

[Lena]

Oh, dar.

[Johnny]

Because if you don't like it, just blame it all on Mr. Bailey here. He rented the house while we were on our honeymoon. Yes, sir. He even decorated the place. But if you do like it.

[Lena]

Oh, I adore it. I'm mad about it.

[Johnny]

Ah, well, in that case, you are talking to the right man. Because I engaged Mr. Bailey. Didn't I, Mr. Bailey? Quite right, Mrs. Aysgarth.

[Lena]

Oh, Johnny, you're a genius.

[Johnny]

Mr. Aysgarth, I shall have to be getting along now, so what shall I do about the bill? Oh, just drop it on that pretty little table on your way out, old boy. Oh, yes. Thank you, Mr. Haysgart. Thank you, Mr. Bailey.

[Lena]

Oh, Johnny, I never dreamt I'd ever have such a gorgeous place. Are you sure you can afford it?

[Johnny]

Yeah. Look, just press that button there on the phonograph. There we are. My dance, I believe.

[Lena]

Oh, yes.

[Johnny]

Where are we?

[Lena]

At the Hunt Ball?

[Johnny]

Where else?

[Lena]

In Venice.

[Johnny]

And.

[Lena]

And Naples and Capri and Nice and Paris.

[Johnny]

Paris?

[Lena]

I beg your pardon, sir.

[Johnny]

Yes? Oh. Oh, darling, this is. Oh, I forgot your name.

[Lena]

Echo, sir.

[Johnny]

Oh, yes. Well, Ethel.

[Lena]

A telegram for you, sir.

[Johnny]

Oh, thank you, Ethel. What do you think of Ethel?

[Lena]

Oh, she seems perfect.

[Johnny]

Hmm.

[Lena]

Hmm. It isn't bad news, is it?

[Johnny]

Oh, no, no. It's from an old friend of mine. Stupid fellow. He wants a thousand pounds. You couldn't spare a thousand, could you?

[Lena]

A thousand? What does he want it for?

[Johnny]

Hanged if I know. Probably because I borrowed it from him.

[Lena]

Borrowed it? Why?

[Johnny]

Because I was going on a honeymoon with the loveliest girl in the world. I wanted her to be happy.

[Lena]

Didn't you have any money of your own?

[Johnny]

No, not a shilling.

[Lena]

But I thought. I had the impression. Johnny, are you. Are you broke?

[Johnny]

Monkey face? I've been broke all my life.

[Lena]

Why didn't you tell me? And whatever made you take this extravagant house?

[Johnny]

Well, I didn't think you'd want to live in a shack. A girl like you who's going to come into plenty of money someday.

[Lena]

Wait a minute. I can't quite get this into my head. Were you thinking of my inheritance when you. Oh, I don't know what to say.

[Johnny]

Oh, my darling, really. Isn't it silly to spend the best years of our lives waiting? Why not be comfortable?

[Lena]

Now, Johnny, I'm just beginning to understand you. You're a baby. Oh, I know. You can marry me for my money, but my income will never pay for all this. Never.

[Johnny]

Well, what about your father?

[Lena]

Well, I couldn't possibly ask my father or even Mother. You saw how restrained she was when she met us at the station. Anyway, you wouldn't actually want to live on your wife's allowance, would you? Of course not. Do well, then?

[Johnny]

Well, I suppose if the worst comes to the worst, and there was no other way out of it, well, I suppose I'd have to.

[Lena]

What?

[Johnny]

Borrow some more? I haven't touched old Middleham yet. You ought to be good for a month or two's housekeeping.

[Lena]

I think. I think you must be mad.

[Johnny]

No, now, darling, let's not.

[Lena]

Johnny, listen to me. Well, there's going to be no more borrowing.

[Johnny]

Well, what else is there to do?

[Lena]

You've got to go to work. Yes, work.

[Johnny]

You mean put on old clothes and go out with a shovel?

[Lena]

Don't be sniffing it.

[Johnny]

Well, what do you mean? I'm afraid you're a bit of a dreamer, darling. You realize that in order to be a plumber or a carpenter, or an electrician. Darling, you haven't been around.

[Lena]

There are all sorts of jobs, Johnny.

[Johnny]

Well, I'm broad minded. Let's have some tea and talk it over. We can make out a list of jobs. Might be fun. Who's that? It's right there behind you, darling.

[Lena]

Hello. Oh, hello, Mother. Oh, yes, yes, it's wonderful. A most beautiful house. Would you tell father how badly I felt? Oh, he is. Oh, wait. Wait a minute till I tell Johnny. Johnny? Yes, Father is sending us a wedding present. No, Mother told him how happy I looked and. Oh, I can't tell you how much this means to me.

[Johnny]

Me too.

[Lena]

Yes, Father.

[Johnny]

Yes, go on, ask him when he's sending it.

[Lena]

It's come right away by messenger.

[Johnny]

Well, invite them over for dinner. And if you can slip it in, just say that we were in the throes of job hunting when he telephoned.

[Lena]

Oh, Johnny, really, you are the linnet. What, Father? Yes, Johnny and I were just discussing that very subject and he had several interesting ideas on the kind of job he'd like to do. There's a messenger from General McLeod. Oh, it's just come, Father. Hold on. Bring it in, Ethel. Yes, I think I know what it is. Oh, Johnny, you'll be thrilled. In here, please. Oh, it is. Oh, how wonderful. Johnny looks.

[Johnny]

What? What is the thing?

[Lena]

It's a chair, darling. A Queen Anne chair. Oh, we had them in the family before I was born. Here's another one, ma'.

[Johnny]

Am. How many more, for heaven's sake?

[Lena]

Just these two, sir. He sent us both of them. Oh, Johnny, these are our first heirlooms to be handed down to our children and then to their children.

[Johnny]

Well, that's the thing to do with them all right.

[Lena]

Oh, I must tell him. Oh, Father, you're so good to him that it makes me want to cry. Yes, you've made me very happy. Oh, you've made Johnny very happy, too.

[Johnny]

Oh, yes.

[Lena]

Wait a minute, Father. He wants to say something to you.

[Johnny]

No, I don't.

[Lena]

Say something very nice. These chairs really belong in the museum. Go on.

[Johnny]

Hello, General. Yes, yes, but really, shouldn't you have sent them to a museum? Well, naturally, we're thrilled. A job? Oh, yes, yes, Lena and I were just going into that. Well, I have several excellent opportunities. I just received a letter from my cousin, Captain Melbeck. He wants someone to manage his estate for him. I thought I'd take the job. Well, I'm glad you approved. Yes, yes, we'll get together soon. Goodbye, sir.

[Lena]

That was a fib about Captain Melbeck, wasn't it?

[Johnny]

Was it? Listen to this letter. We'll give you an idea, the fullest consideration. Let me know if you would like to take the job. Yours sincerely, George Malbec.

[Lena]

Did you have this letter all the time?

[Johnny]

I did.

[Lena]

Why didn't you tell me?

[Johnny]

Because, dear, I never dreamed I'd be using it. Any more than I ever dreamed that we'd be receiving these two beautiful chairs.

[Lena]

Oh, good afternoon, ma'.

[Johnny]

Am.

[Lena]

Hello, Ethel. Mr. Aysgarth at home yet? No, ma'. Am. There's a gentleman waiting for him in the drawing room. Oh, thank you, Ethel. Hello.

[Johnny]

I see. Nice place old Johnny's got here. Oh, I'm Beaky Thwaite. You must be old Johnny's wife.

[Lena]

Yes, I am.

[Johnny]

Didn't he ever tell you about me?

[Lena]

Beaky? Oh, you're Beaky.

[Johnny]

I happen to be driving by. I thought I'd just pop in for a cup of tea.

[Lena]

I've heard so much about you, Mr. Thwaite.

[Johnny]

Johnny told me about you too. Ran into him at Newbury Races last week.

[Lena]

The races?

[Johnny]

Ah. Put my foot into it as usual, eh? Well, why, Mrs. Didn't he tell you?

[Lena]

Well, Johnny has a job. He couldn't have been at the races. Besides, he's given up betting.

[Johnny]

Oh, he has, has he? But don't you believe it. Not Johnny. He's a great lad, he is. You mustn't mind Johnny cutting up. That's what makes him Johnny. Besides, he thinks you're a topper.

[Lena]

Won't you sit down, Mr. Thwaite? I'm sure, Johnny.

[Johnny]

Oh. Something wrong?

[Lena]

Yes. There were two chairs here this morning before I left.

[Johnny]

Chairs? Disappeared, have they?

[Lena]

Yes, apparently.

[Johnny]

Were they expensive?

[Lena]

Yes, they were. They were museum pieces. Queen Anne.

[Johnny]

That Johnny, he'll be the death of me. Don't you understand?

[Lena]

No, I don't.

[Johnny]

I bet you 20 to 1 old Johnny has sold them.

[Lena]

Sold them? What for?

[Johnny]

For money, of course. Fellow's got to pay his racing debts, hasn't he? You know these bookies don't trust a chap for long. Not a chap like Johnny, that is.

[Lena]

I don't believe you. I don't believe a word you say.

[Johnny]

Oh, put my foot in it again, have I? My dear, you mustn't take it so seriously.

[Lena]

After all, it's Johnny.

[Johnny]

Wonderful chap, Johnny.

[Lena]

He couldn't have sold them. He wouldn't without asking me.

[Johnny]

Mrs. A start at home, Ethel.

[Lena]

Yes, sir.

[Johnny]

Here he comes. Now, don't tell him a word I've said. But if you want to see Johnny at his very best, you Just say something about chairs.

[Lena]

Vicki. Johnny.

[Johnny]

How are you? All being well? Fine. What are you doing here? Just popped in to see you, old boy. Good, good. Well, how's my monkey face? What's the matter, darling?

[Lena]

Nothing. Why?

[Johnny]

You sure? Your wife seems to be missing some chairs, old boy. Dickie, your pipe's not lit. Let me give you a match. Thanks, old boy. About those chairs, old bean. Huh? The missing chairs, old man. Oh, yes, yes, the chairs. Well, I suppose that American must have come for them this morning.

[Lena]

What American?

[Johnny]

Oh, didn't I tell you, darling? Ah, stupid of me. Well, he dropped by about a week ago. Friend of Melbeck's. Go on, old man. Well, anyway, he. He admired the chairs. Offered a hundred apiece for them. Anybody would take that.

[Lena]

I wouldn't.

[Johnny]

Oh, wouldn't you really, dear? Well, that never occurred to me.

[Lena]

Why didn't you mention it?

[Johnny]

I'm sorry, darling. I thought I did.

[Lena]

Oh, that's all right. They're gone. They're gone.

[Johnny]

They're gone. All right.

[Lena]

Shall we change for dinner?

[Johnny]

You're an angel. Hold on a minute. You say he offered you 100 to peace broom? That's right. Let's have a look at the cheque. Oh, he'll send it along. I bet you £10 to a shilling you wouldn't dare. Let your wife pick up the telephone and ask old Melbeck or whatever his name is, if he ever saw this American.

[Lena]

Are you implying that my husband is a liar, Mr. Thwait?

[Johnny]

Oh, now, monkey face. Don't mind Beaky. He's only joking.

[Lena]

Well, I prefer jokes on other subjects. Are you staying for dinner, Mr. Thwaite? Dinner?

[Johnny]

I'm spending the weekend unless you throw me out.

[Lena]

Johnny's friends are always welcome as long as they remain Johnny's friends.

[Johnny]

In a few minutes, Mr. DeMille and our stars, William Powell and Olivia de Havilland will be back with act two of Suspicion. And now, Libby Collins, our Hollywood Reporter. Tell us, Libby, what's the latest?

[Lena]

Hats, Mr. Kennedy. Hats. Something new and quite different in hats.

[Johnny]

You mean the wind blown hatless? Vogue is out, Libby.

[Lena]

It will be when women try on these new styles. Toques they call them, with their close fitting trimmings of flowers or feathers. Well, they're so utterly feminine, no woman can resist them. And no man either, I might add.

[Johnny]

If that's a toque you're wearing right now, Libby, I believe you.

[Lena]

Why, thank you, Mr. Kennedy. You know, styles are going to be very soft and feminine this year. Frills and frou frou are the vogue, Irene Dunn, one of the loveliest and best dressed stars in Hollywood, has one of these little tokes.

[Johnny]

Seems to me, Libby, that kind of hat is bound to be a winner if it's combined with a soft, lovely complexion. A real luxe complexion.

[Lena]

I should say so. In fact, this kind of hat is artful. It's actually designed to set off a nice complexion.

[Johnny]

Well, Libby, Hollywood stars like Irene Dunn know just how to keep their skin soft and smooth. With daily luxe toilet soap facials, they can be sure their precious complexions get gentle cherishing care.

[Lena]

Yes, those facials are quick and easy, but so effective.

[Johnny]

Lovely luxe complexions everywhere are proof of that, Libby. And I'd like to point out that recent tests of luxe soap facials showed that actually three out of four complexions improved in a short time. So here's a Hollywood tip. For skin that's truly feminine, soft and appealing, why not use this gentle Soap recommended by 9 out of 10 famous screen stars. You'll find it's a beauty care that really works. If ever your dealer happens to be out of stock due to wartime conditions, he'll surely have more soon. Remember, Lux toilet soap is worth waiting for. And now Mr. DeMille returns to the microphone. Act two of Suspicion, starring William Powell as Johnny and Olivia de Havilland as Lena. With Charles Irwin as Beaky. A week has passed, but in Lena's mind there is still a dim shadow of doubt. A faint, indefinable fear. The dawning of Suspicion. Now in the quiet main street of the town, she meets the local celebrity, a writer of mystery stories.

[Lena]

Lena, dear. Oh, hello, Isabel. I've just been admiring your display in the bookshop. Murder on the Footbridge. Yes, they're doing very well by it. How's Johnny? Oh, he's fine. He's not an admirer of yours? I don't believe there's one of your stories he hasn't read. Splendid. By the way, have you seen Tellbrook's window? The antique shop? Not lately. Well, my dear, they've got the most beautiful things. Two lovely old Queen Anne chairs. I'd give my soul to own them. Chairs. Lovely. Well, goodbye, dear. I'll see you for dinner soon. Yes, of course. I'll phone you. Lena.

[Johnny]

The chairs.

[Lena]

He said he'd sold them to an American. He lied to me. Why? Why did he lie to me?

[Johnny]

Hello, girl. Back so soon?

[Lena]

Beaky, I owe you an apology.

[Johnny]

Good. I mean, what for?

[Lena]

I'll explain to you later.

[Johnny]

You seem to be rather hot under the collar. Must be about old Johnny. I dare you mustn't be angry with Johnny.

[Lena]

It's a waste of time.

[Johnny]

Now, if you want to get saw with me, that's different. I annoy everybody. Always did. Lena. Beaky, where are you? Hello. Hello? I Don't move, either of you. I must watch the expressions on your faces. So, what have you got in those packages, old bee? Beaky. This is a red letter day, Nina. Look, do you remember that little necklace you admired in Regent Street? Here. Well, and Beaky, here's a little present for you. What is it, old bean? Oh, shake, Darling, do you remember this coat? I saw the hungry eye you gave it the last time we were up in London. It's yours. Well, what do you say, Johnny?

[Lena]

I don't understand. What made you do all this?

[Johnny]

Oh, dear. Don't be angry, Johnny.

[Lena]

I want to know what this is all about.

[Johnny]

Yes, what's it all about? Old Be well, my friends, I have the pleasure of announcing that the good old copper's run today and I happen to have backed the winner. A ten to one shot, ladies and gentlemen. And I had £200 on him. £200 at ten to one. Why, that's 2,000 quid. Darling. What's happened?

[Lena]

You turn.

[Johnny]

I suppose you disapprove of my betting. Oh, come on, darling, smile.

[Lena]

Johnny. Where did you get the £200, white shell girl?

[Johnny]

That's not a very tactful question.

[Lena]

Where did you get it?

[Johnny]

Oh, you know very well there was no American. I got it for the chairs, of course.

[Lena]

You sold the chairs to gamble all your money on a horse.

[Johnny]

Well, not exactly. I owed the boaties some money. I got the £200 to pay them off, but then along came this hot tip. Oh, darling, give us a smile. Oh, come on, old girl. Oh, I know what you tickle her chin and I'll make a noise like a duck. No, no good, Biggie. No good, no. Oh, I forgot something. Darling, look. This is a receipt from a certain antique shop. Paid in full for a certain pair of chairs. They'll deliver within the hour.

[Lena]

Oh, Johnny.

[Johnny]

There, she's smiling. By Jove, so she is.

[Lena]

Oh, Johnny, darling.

[Johnny]

Well, it's done, old beat. I say, what about celebrating? Trust Beaky to say the right thing at the right time. Look at me, darling. Happy? Yes, of course she is. Here you are, Lena. This is yours, old girl.

[Lena]

Thank you, Beaky.

[Johnny]

Here's yours, old bean. Ah, now for a toast. Wait a minute, Beaky. What are you drinking? Brandy. Oh, just a slice, old bean. You know that's not good for you. All Right. Well, maybe just this once. Oh, thanks, monkey face. I drink to the last bet that will ever be made by Johnny Hazard. The last bet, old bean. Bottoms up, eh, Dicky?

[Lena]

What's the matter with him?

[Johnny]

Sit down, Dicky.

[Lena]

Here, Johnny, get some water, quick.

[Johnny]

It won't help. I've seen this happen before. There's nothing much you can do about it.

[Lena]

Well, open his collar. He can't breathe.

[Johnny]

No use, darling. It'll either kill him or it'll go away by its sorry old man. One of these days it will kill him.

[Lena]

Oh, good afternoon, Mrs. Asgart. Good afternoon. Is my husband in his office, Mr. Aysgart? Why, no. When you expect him? Well, I really couldn't say. Perhaps you'd like to talk to Captain Belben. Yes, I would very much. Please, this way. Mrs. Aysgarth to see you, sir.

[Johnny]

Oh, come in. Mrs. Aysgarth, what a pleasure to see you.

[Lena]

Good afternoon, Captain Melbet.

[Johnny]

Do sit down.

[Lena]

Thank you. Captain Melbeck, I don't want to impose on you, but you're Johnny's cousin as well as his employer. I thought I'd come in and see you.

[Johnny]

Of course. I've been feeling very badly about Johnny ever since I had to discharge him this. Now, don't worry, Mrs. Aysgarth. I told him I wouldn't prosecute.

[Lena]

I don't understand.

[Johnny]

I told him I wouldn't prosecute.

[Lena]

What on earth are you talking about? When did you discharge him?

[Johnny]

Six weeks ago. We had an unexpected audit. The account showed a deficit of £2,000. When I looked into Johnny's records. I'm terribly sorry, Mrs. Aysgoth. He should have told. Johnny.

[Lena]

I am leaving you. It is very important that we never see each other again.

[Johnny]

Lena. Yes, Ethel told me. She packed your grips?

[Lena]

Yes.

[Johnny]

Then you heard.

[Lena]

Yes, I've heard.

[Johnny]

I'm so sorry, darling. Terribly sorry. This telegram just came from the doctor. Tell us how it happened.

[Lena]

Telegram?

[Johnny]

Deeply regret. Your father died early this morning from heart failure. Your mother wishes you'd come at once. Tired, darling?

[Lena]

A little.

[Johnny]

It's been a nasty week for you. I'll be glad to get you home. Nina, you ever have any regrets you married me?

[Lena]

Why do you ask that?

[Johnny]

Well, I was thinking of the will. Seems pretty obvious that your father would have left you a lot more than his portrait if you'd been anybody else. But Mrs. John E's got.

[Lena]

Oh, is that what you meant?

[Johnny]

You haven't answered my question.

[Lena]

What about you? Have you any regrets, monkey face?

[Johnny]

Marrying you is the one thing I've Never changed my mind about.

[Lena]

Do you really mean that, Johnny?

[Johnny]

Yes, I really mean that. I want nothing but to spend the rest of my life with you. And if you were to die first, I'd never.

[Lena]

I would die first.

[Johnny]

Well, listen, what about you?

[Lena]

I couldn't stop loving you if I tried.

[Johnny]

Have you tried?

[Lena]

Yes, once.

[Johnny]

When?

[Lena]

And I found out you lost your job with Captain Elbeck.

[Johnny]

How long have you known?

[Lena]

Since last Friday.

[Johnny]

Who told you?

[Lena]

Captain Melbourne. I met him.

[Johnny]

Did he tell you why?

[Lena]

No. Suppose you tell me why.

[Johnny]

Oh, well, we just didn't get along. I say, it's quite nice here. Shall we stop and look at the sea? Oh, dear. Quite a drop off this cliff, wouldn't it?

[Lena]

Why didn't you get along with Captain Milbeck?

[Johnny]

Oh, I don't know. He's a bit of an old Foley, you know. Monkey Face, I have always had the notion that the secret of success is to start at the top. The way to make money is to think in a big way. Look at all this land, for instance. Look at the view from these cliffs. Now, why isn't something done about it? If I had £10,000, or still better, 20,000, I could start a development here.

[Lena]

All you need is £20,000.

[Johnny]

But 30 next 10,000 wouldn't hurt a bit. £30,000, that's all I'd need. Think you could string it for that old bin? Of course. Now, you see, Beaky, this is the ground plan. Wonderful, old Beak. And we can put the large hotel up there on the cliff. That's the idea.

[Lena]

Hello. What's going on in here, Monkey Face?

[Johnny]

We're organizing a real estate company. We're about to buy a very beautiful piece of land right by the sea. What a view. What sand. What air. Then we sell at profit.

[Lena]

I see. But you. You'll need financing for all this, of course. Well, have you found someone to put up the money?

[Johnny]

Of course.

[Lena]

Who?

[Johnny]

Me.

[Lena]

Oh, I see.

[Johnny]

Well, the idea is mine, but the money is Beaky's. And the corporation? Well, Beaky borrows against some securities has in Paris. Now, the company is going to be in my name.

[Lena]

Yes.

[Johnny]

Look, darling. Now, let me show you how simple it is.

[Lena]

Does Beaky understand it?

[Johnny]

Oh, perfectly, I think.

[Lena]

I beg your pardon, Mr. Ayscought?

[Johnny]

Yes, Ethel?

[Lena]

You're wanted on the phone, sir.

[Johnny]

Oh, thank you, Ethel. Excuse me, Beaky. All right, old man.

[Lena]

Now, Beaky, please explain it to me, will you?

[Johnny]

Well, you see, my dear girl. Well, you see, we buy up this land and then we sell part of it. That gives us 100% profit. Then on the other part, we build something or other.

[Lena]

Oh, yes, but from whom do you buy the land? To whom you sell it?

[Johnny]

Well, that shouldn't be difficult.

[Lena]

Do you think, Beaky, isn't it about time you grew up?

[Johnny]

I say, old girl, you're scolding.

[Lena]

Yes, you need a scolding.

[Johnny]

Do I?

[Lena]

Yes, you do.

[Johnny]

Shall I go and stand in the corner?

[Lena]

Beaky, you're not being fair to Johnny.

[Johnny]

I say, Olga, that's a bit thick, you know. Why, he's the president of the whole valley thing. Jig gets a salary, writes his own checks.

[Lena]

Yes, that's what I mean.

[Johnny]

What's wrong about that? Yes, what is wrong about it? Well, Lena. I say, Old Bing. Lena's telling me you're a bit soft in the head. Is that it? Well, it sounded like that to me. Beaky, hadn't you better be changing for dinner? Right, old bean. I won't be a gift. What right had you to interfere in my affairs?

[Lena]

But I wasn't really. I was only.

[Johnny]

You were only what?

[Lena]

Well, I was only trying to tell Beaky that he shouldn't leave everything to you. It's not as if you were both experienced businessmen.

[Johnny]

What the devil do you know about business?

[Lena]

Very little.

[Johnny]

I only suppose, Brie, you're taking me seriously. You'd have ruined the whole scheme. Do you realize that?

[Lena]

Yes, but if it weren't good.

[Johnny]

Well, that's my business, not yours. If I say it's good, it's good. But I don't want any interference from you or anyone else. Is that clear?

[Lena]

Yes, that's clear. Yes. Who is it? Yes, Johnny, I.

[Johnny]

Well, I thought you might like to know. I'm calling off the real estate plan.

[Lena]

Why? What happened?

[Johnny]

Oh, I don't know. Perhaps the land isn't any good. Or perhaps I don't like the idea of risking Beaky's money. Or perhaps it's a stiff job and I'm too lazy. I don't know what it is, but every time I play anagrams, I can only make three letter words. D, O, U, B. D, O, U, B. No such words.

[Lena]

Try this.

[Johnny]

D, O, U, B, T. Doubt. Thank you, old girl. Your turn. Dear Johnny, I don't see why you want to call off this real estate scheme. Ah, it's no good. The corporation's formed already. The money's been put up in your name, old boy. The deal's off, Beaky. Why do we have to drive all the way up there to look at it? Well, I won't Be responsible for calling the scheme off without first proving to you it's no good. We're going up there early tomorrow morning. Take a look.

[Lena]

Why are you so insistent?

[Johnny]

Because, as I told you, I won't be responsible. All right, old boy. What's that word you got there, Lena? M U, L, D, E, R. Oh, it's. It's word is there. Try the R instead of the L. Murder. That's better.

[Lena]

Murder.

[Johnny]

Charlie, I don't like going up there in the morning. Why do we have to go so early now, Beaky?

[Lena]

Murder.

[Johnny]

Oh, well, we have to. Let's get on with the game. Your turn, old girls.

[Lena]

The money in his name. Murder. The cliffs overlooking the sea.

[Johnny]

I say, Lena.

[Lena]

The edge of the cliff. Stay away, bie.

[Johnny]

Lena, I say.

[Lena]

He'll put you off. He'll kill you. Murder. Murder. Murder.

[Johnny]

Lena, what's the matter? Lena? Give me a hand here, B. She's fainted.

[Lena]

What time did Mr. Ayscought leave? Why, about seven, ma'. Am. And Mr. Thwaite went with him? Yes, ma'. Am. Why didn't you wake me? Well, Mr. Aysgarth said not to disturb you. What card did they use? Well, ma', am, I don't.

[Johnny]

What car?

[Lena]

Which one? Listen. Oh, that's Mr. Ayscought now, ma'. Am. He's back. He's come back.

[Johnny]

Morning, Leah.

[Lena]

Johnny.

[Johnny]

Feeling better? What's the matter? You're white as a sheet.

[Lena]

Where. Where's Vicky?

[Johnny]

What? Hello, girl. How you, Felix? Any better? Nina, what is it?

[Lena]

Oh, Johnny. Oh, darling, I'm so glad.

[Johnny]

Well, what's all this? I've only been away a few hours.

[Lena]

It seems like a thousand years.

[Johnny]

Yeah, it seems like we had to meet two. Oh, shut up, Beaky. It was nothing.

[Lena]

Nothing?

[Johnny]

I came vainer to lose my life. You call it nothing?

[Lena]

You nearly lost your life.

[Johnny]

Came very close to it. Let's drop the subject.

[Lena]

No, go on, Beaky. I want to hear about it.

[Johnny]

Well? Very well. On top of a cliff. I was trying to turn my car near the edge.

[Lena]

Was Johnny in the car?

[Johnny]

No, it was a few feet away.

[Lena]

Go on.

[Johnny]

Well, I didn't realize I was backing the car toward the edge, but I was. And if old Johnny hadn't taken a flying leap and grabbed the brake, I should have been kingdom come by now.

[Lena]

Johnny saved your life. Oh, Johnny, I can never tell you what this means to me.

[Johnny]

To you, darling? Yes. It means a good bit to me too. I think the old fellow deserves a reward. How about a night out? Sports, celebrating on me, old B. Oh, well, that's very kind of you, Beaky, but don't you have to go to Paris?

[Lena]

Paris?

[Johnny]

Yes, yes, of course. I do my securities. I've got to go over there and catch the arrangements for him. Why don't you come over with me? The cats seems to forget that I'm a married man, see? I tell you what I might do, Vicky. I might drive up. Drive up as far as London with you. What about that monkey face? Yes, monkey face. I mean, Lena. You let him come.

[Lena]

Well, it seems to me that.

[Johnny]

Yes, I know a job. Well, it seems to me that I'll have much more chance of getting a job in London than I would around here. Yes, of course he would. Do let him, Lena.

[Lena]

Well, I don't see very well how I can stop him.

[Johnny]

Good.

[Lena]

Misses A. Yes, Ethel? There's an Inspector Hodgson in the hall, ma'. Am. He wants to see Mr. A Scar. Show him your nettle. Very good, ma'. Am. Will you come this way, please, Sir?

[Johnny]

Thank you. Mrs. Aysgarth? Yes, by name's Hodgson. Inspector Hodgson from the county police.

[Lena]

How do you do?

[Johnny]

I understand your husband's not in, ma'. Am.

[Lena]

No, he's been up in London for two days.

[Johnny]

Or perhaps you might be able to help him.

[Lena]

Yes, of course.

[Johnny]

I believe you know a Mr. Thwaite.

[Lena]

Yes, he's a close friend of my husband.

[Johnny]

Well, I don't know how to put it quite. Perhaps it would be easier if I showed you this in this afternoon's paper. Right here, ma'. Am.

[Lena]

Englishman found dead. An Englishman met with a mysterious death in a house in Paris. He's believed to be a Mr. Gordon Cock and thwait of.

[Johnny]

I'm sorry to have to do this, ma', am, but we're making inquiries for the Paris police. They found some papers on Mr. Thwaite's person which indicate he just formed a corporation with your husband. What.

[Lena]

What did the French police think caused the death?

[Johnny]

Well, this is a copy of a telegram that we received from Paris. Thwaite visited the place in the company of another Englishman. On arrival, Thwaite ordered a bottle of brandy. According to one of the waiters, Thwaite's companion asked for the brandy to be served in large beakers. Apparently, as a result of a bet between the two men. Thwaite filled one of these beakers to the brim and drank it all. The other man was not present when the actual tragedy happened. I'm sorry, ma', am, but do you or your husband happen to know of any friend of Mr. Thwaite's who might have been there with him?

[Lena]

No.

[Johnny]

Then perhaps you could enlighten us about this corporation.

[Lena]

Yes, I believe I can. My husband has been planned a real estate development with him. Mr. Thwaite had gone to Paris to dissolve the corporation.

[Johnny]

Thank you, ma'. Am. That's all. Good day.

[Lena]

Good day. Didn't go to Paris. He's in London. Johnny's in London. He's at the club. He's got to be in the club. He didn't go to Paris.

[Johnny]

He didn't?

[Lena]

Hello, Hogarth Club. May I speak to Mr. Aysgarth, please? He left. Left? When? Yesterday morning. No, no, it doesn't matter. Thank you. Murder.

[Johnny]

Murder. Because now. Now for station identification, this is cbs, the Columbia Broadcasting System. In a few minutes, Mr. DeMille and our stars, William Powell and Olivia de Havilland, will return in Act 3 of suspicion. And now here's a very reasonable question from an American housewife.

[Lena]

Now that it seems likely the war in Europe may soon come to an end, why should I keep on saving my used cooking fat?

[Johnny]

Why, Mrs. America? Because the need is still critical. Perhaps more critical than ever.

[Lena]

But will fats be needed as urgently to manufacture war materials and medicines to.

[Johnny]

Send abroad after Germany's defeat. There's still Japan. Remember this, too. The Japs still have the fat they hold the countries from which we used to import about 1 billion pounds of fats and oils each year.

[Lena]

A billion pounds? That's a lot of fat.

[Johnny]

It is indeed enough to help manufacture the supplies of ammunition, medicines, parachutes and other war materials that must keep on going to our fighting men abroad. Remember, too, our domestic production of fats is short. It has had to fall off during the war.

[Lena]

Well, I guess I better keep that salvage tin handy on the stove, just as I've been doing.

[Johnny]

You're doing a necessary patriotic service when you continue to save every drop of used kitchen fats and turn them into your butcher. Every bit you throw away may deprive one of our men of some vital thing he needs. The war isn't over till our boys come home. We need to keep on doing everything we can to get them home sooner. Fats are essential materials of war. Don't waste them. Save them every day. Turn them into your butcher. Remember, he still gives you four cents a pound and two red ration points for every pound you turn in. That's the message your government sends you. Here's what Mr. Lee Marshall, Director of Distribution, War Food Administration, tells you. Saving used fats is not a glamorous task. It takes effort. But it is one that only you, the American housewife, can perform for the country. We ask you to continue the wonderful job you are doing to help speed final victory. And now Mr. DeMille returns to the microphone. When the play is over, we hope you'll join us behind the scenes for an informal chat with our stars. Now here's Act 3 of Suspicion, starring William Powell as Johnny and Olivia de Havilland as Lena. In Lena's mind, the sharp sting of suspicion has given way to the dull, sickening ache of certainty. Certainty that her husband is a murderer. Returning to the house, he stands framed in the doorway, looking at her. She turns toward him with fear in her eyes. You've read about Beaky, have you? I was terribly fond of Beaky.

[Lena]

Were you?

[Johnny]

Yes. I loved that silly, generous, good hearted fool.

[Lena]

Did you?

[Johnny]

Of course I did. Next to you I loved him more than anybody in the world.

[Lena]

Next to me?

[Johnny]

Oh, poor monkey face. Here I am thinking only of myself, forgetting about you. You liked him too, didn't you?

[Lena]

I liked him very much. The police were here.

[Johnny]

What did they want?

[Lena]

They wanted you to help them. They had a telegram from Paris and it seems there was an Englishman who made a bet.

[Johnny]

Yes? How? The whole story was in the late edition. What else?

[Lena]

The inspector wants you to phone him. He thought perhaps you could help identify this Englishman.

[Johnny]

What'd he tell them? Did you mention the corporation?

[Lena]

Naturally. I told him Beaky was planning to dissolve it.

[Johnny]

I wish you'd left all that to me. Hello? Which? The police station, please. What else did you tell them?

[Lena]

That's about all.

[Johnny]

Hello? Hello, Inspector. This is John Asgot. Yes? Well, I drove up to London with him Tuesday evening. Yes, I saw him off at Croydon Airport. No, no, I stayed in London until this afternoon at my club.

[Lena]

Lena, how nice to see you. Sit down, dear. Isabelle, you know, I couldn't put my light out until 3 this morning. I was so interested in your last book I had to come over and talk to you about it. That's the nicest compliment I ever got. I was completely fascinated by the way your villain enticed his victim across the footbridge knowing his bridge had been sawn through. And he also knew his victim couldn't swim. Don't forget that. Well, what I want to know is this. Would you call that an actual murder? Well, from a moral standpoint, there's no question at all. It is murder. I suppose it is. What does Johnny think? Johnny? Oh, I haven't discussed it with him. I think he'd be interested. The same situation with this friend of his in Paris. The Same. Well, that brandy business is just like my footprint. By the way, this brandy thing isn't new at all, you know. It's been done before. Oh, yes, and in real life, too. I have it here.

[Johnny]

A book called the Trial of Richard Palmer.

[Lena]

Where is that book? The Trial of. Oh, I remember where it is. It's in your house. My house? Yes. Johnny borrowed it a week ago. Hello?

[Johnny]

Hello. May I speak to Mr. Aysgart, please?

[Lena]

He isn't in. This is Mrs. A's Goth speaking.

[Johnny]

Oh, well, this is the guarantor's life insurance company.

[Lena]

Yes.

[Johnny]

Would you tell Mr. Aysgarth that there's been a slight delay in replying to his inquiry? We've written him fully and he should get our letter in the morning.

[Lena]

Dear sir, replying to your inquiry regarding a loan of fire policy. We regret that such a loan cannot be granted. According to the terms of the policy. Payment can only be made in the event of your wife's death. If you.

[Johnny]

Morning, dear. Any letters for me? What's the matter?

[Lena]

Nothing.

[Johnny]

Well, you're not shivering, are you?

[Lena]

Oh, I've a bit of a chill.

[Johnny]

Cold in all this sunshine? My poor little shivering baby. How do you feel now? Better?

[Lena]

Much.

[Johnny]

Good. What are we doing tonight?

[Lena]

We're going to Isabel's to dine.

[Johnny]

Oh, what a bore. Well, let's get back to that new book of yours. Isabel, you mean to tell me that a fellow sits down at a piano, starts to strum, and in two seconds later he shots? Is that the idea?

[Lena]

Yes. A certain note on the piano was wired to a revolver concealed in the wall.

[Johnny]

Oh, I don't care much for that, Isabelle. You're slipping, old girl.

[Lena]

What's wrong with it?

[Johnny]

Too complicated. You're going to kill somebody. Do it simply.

[Lena]

How would you do it simply, Johnny?

[Johnny]

No, I don't know, dear. Just use the most obvious method.

[Lena]

For instance?

[Johnny]

Well, poison. Just use the first one that came to my mind. Say arsenic.

[Lena]

Arsenic can be traced in the body, of course.

[Johnny]

But it isn't always.

[Lena]

No, it's very minute. There are probably hundreds of murderers walking about. Johnny, do you suppose those murderers are happy?

[Johnny]

I don't know. Why shouldn't they be? Well, anyway, Isabella, it seems to me that by now somebody would have discovered a poison that can't be traced. What's that? What about it?

[Lena]

Isn't there an untraceable poison? Nonsense. There's no such thing.

[Johnny]

Isabelle, you're hiding something from me.

[Lena]

Johnny, you're locking up. What about Ethel?

[Johnny]

Well, it's Ethel's night Off. She won't be back till morning.

[Lena]

What about Cook?

[Johnny]

Have you forgotten? Cook's away on a holiday. Oh, darling, you're shivering again. You suppose you're catching cold?

[Lena]

Yes, I. I think that's what it must be.

[Johnny]

Oh, well, we'll have to tuck you into bed, get you nice and warm. Come on.

[Lena]

No, Johnny, please. Please don't.

[Johnny]

What's the trouble, Johnny?

[Lena]

I'm in a state tonight. I. I don't know why, but I'd like to be alone. Would you mind sleeping in your dressing room?

[Johnny]

Of course I'd mind.

[Lena]

Please, Johnny, I. I haven't been sleeping very well lately.

[Johnny]

Oh, I understand. You used to sleep badly when I wasn't here. Now you. All right? That's the way you feel about it. Good night.

[Lena]

Poison. Arsenic poison. Untreated in the event of your wife's death. Poison in the event of your wife's death. Your wife's death.

[Johnny]

Your wife's death. Come on, Nina. Wake up, dear. Feeling better? Yes.

[Lena]

Yes, Aunt. Hello, darling. Miss Bill. I came over this morning. We were quite worried about Julien this morning. I. I've been asleep all day.

[Johnny]

The doctor gave you a pill, darling. That's all you needed. Rest. I'll run down and tell Ethel to fix supper right back.

[Lena]

Ah, he's one in a million, that Johnny of yours. I warn you, if you leave me alone much longer with him, my career will soon be over. Flirted with you, I suppose. Flirted? Worse than that. He's worming all my secrets out of me. Did you tell him anything today? Did I? Oh, now, honestly, have you ever been able to deny Johnny anything? It was about that poison, wasn't it? Yes, it was. And if he writes a story on that one before I do. Lena. Nina. Imagine a substance in daily use. Anyone can get it. And within a minute after taking, the victim's beautifully out of the way. And mind you, it's undetectable after death, whatever it is. Painful? Not in the least. In fact, I should think it would be a most pleasant death.

[Johnny]

Lena, are you awake?

[Lena]

Yes.

[Johnny]

I brought you a sandwich and a glass of milk. You might drink the milk before you go to sleep. I'll just leave it here. Good night, darling. Why don't you let me help you pack?

[Lena]

Well, there's no need to.

[Johnny]

I. What's the matter with you this morning? You're still annoyed with me, aren't you?

[Lena]

No, Johnny, really, I. I still don't feel well, that's all.

[Johnny]

And a few days at your mother's will do more good than staying at home?

[Lena]

Well, it's. It's not exactly that. Don't you understand? Mother telephoned me.

[Johnny]

She got on that phone awfully early, it seems to me.

[Lena]

Well, Mother gets up early. I. I happened to mention that I was a bit nervy and. And before I knew it, I. I'd agreed to spend a few days with her.

[Johnny]

All right. I'll run down and get the car ready.

[Lena]

Oh no, don't. I'll drive it myself.

[Johnny]

I prefer to drive you.

[Lena]

You're going too fast, Johnny.

[Johnny]

Well, you want to get there, don't you?

[Lena]

Did you. Did you have to go by this road?

[Johnny]

Why not? It's a short way, isn't it? There's the hotel site. Another thing I failed at.

[Lena]

He's going to kill me. That door is open. He's going to kill me. The curb up there. The door will swing. He's going to push me out. Down and down. Over and over. Murder. Down and down. Over and over.

[Johnny]

Get your hand off at all. Lena. Let me go.

[Lena]

Let me go. No.

[Johnny]

No. Lena. Let me go.

[Adam Graham]

Lena.

[Johnny]

What's got into you?

[Lena]

Leave me alone. Leave me.

[Johnny]

Stop it.

[Lena]

Stop it.

[Johnny]

You're little fool. Stop it. I've had enough. How much do you think a man can bear? Listen to me. You turned me out of your room. You go running away to your mother's now you shrink away from me. So you hated me. You're my wife, Leah. But I thought you almost killed us both back there. Because you had to pull away from me. Even when I was reaching over to save you from falling out of the car. Well, you don't have to put up with me anymore.

[Lena]

Johnny, wait. Where are you going?

[Johnny]

First I'm taking on your mother's.

[Lena]

And then what?

[Johnny]

Don't worry. I won't bother you again. Johnny?

[Lena]

You mean you're going to. Johnny. Why were you asking Isabel about that poison? What were you planning to do with Johnny? You were going to kill yourself. Oh, my darling.

[Johnny]

Yes, but I changed my mind. I'm going back to see it through prison time and.

[Lena]

You mean Melbeck?

[Johnny]

That money you took, I can't pay it back. I made the last attempt to raise the money when I went away with Beaky.

[Lena]

Paris.

[Johnny]

I went to Liverpool. I tried to borrow your insurance, but it didn't work.

[Lena]

You mean you were in Liverpool when Beaky. Then you didn't go to Paris?

[Johnny]

Of course not. Do you think I'd have let some idiot give poor old Beaky that brandy if I had?

[Lena]

Oh, Johnny, if only I'd known. This is as much my fault as yours. I was only thinking of myself, not what you were going through. If I'd really been close to you, you could have confided in me. But you were ashamed to do. Oh, if I'd only understood. Oh, Johnny. It'll be different now. We'll make a difference.

[Johnny]

People don't change overnight, Leah. I'm no good.

[Lena]

Let's turn back, Johnny. Let's go home and see it all through together.

[Johnny]

No, it won't work.

[Lena]

It will work. I know it will. Johnny, please. You can't shut me out. Turn the car around and let's go home. Please, Johnny.

[Johnny]

Now get in the car.

[Lena]

Johnny. Where are we going?

[Johnny]

We're turning back. We're going home. It's more than a matter of suspicion that tonight's performance will be long remembered by millions of listeners to the Lux Radio Theater. And for that we can thank our stars, William Powell and Olivia de Havilland. Thank you, Cecil. You gave us a great play when you picked Suspicion. Now you ought to be an authority on mysteries, Bill. One of the best bits of news I've heard is that you're going to do another picture in the Thin man series.

[Lena]

But Bill, for the Thin Man. Haven't you been putting on a little weight?

[Johnny]

Livy? How can you say that? I'm scared of my own shadow. You mean it looks as if a crowd were following you? What weight I have comes from my iron constitution. Every morning when I get up, I turn on those exercises over the radio and do them. No, my wife does. I watch her. Bill, I don't understand you. When I was your age, I used to think nothing of a 10 mile walk. I don't think much of it myself. But look, if. If you want to know, I'm on an a diet.

[Lena]

An a diet?

[Johnny]

What's that? A steak, a baked potato, a piece of pie.

[Lena]

Sounds like army rations.

[Johnny]

Well, it goes to the front. Well, in spite of all you say about me, I'll confess you're looking as lovely as ever, Livy. Yes, isn't she? And now that I planted it for you. Cecil, you wouldn't like to tell us one of the reasons, would you? Me? No, no. Oh, come on. Plenty of fresh air, sunshine and luxe toilet soap. I'll say it for you.

[Lena]

Well, there's no need to be modest about it, Phoebe. I use luxe toilet so faithfully and it does wonders.

[Johnny]

Well, thank you, Olivia. And I think we'd better take back all we've said about Bill's figure or he'll dial us off. His radio next Monday night.

[Lena]

Not when he hears what's coming up.

[Johnny]

TB what do you have for next Monday, Cecil? A play I think you'll like, Bill. The RKO romantic comedy Lucky Partners. And our stars will be Donna Meeche and Lucille Ball with Jack Carson. It's a story of two young people falling in love who stake their future on a horse race. When you gamble both love and horses, you're riding for plenty of excitement.

[Lena]

This sounds like Another entertaining evening, C.B. we'll be listening. Good night.

[Johnny]

Good night.

[Lena]

Good night.

[Johnny]

Good night. I have a suspicion we'll be back soon. Our sponsor, the makers of Lucky Toilet Soak, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Lucille Ball and Don Ameche in Lucky Partners with Jack Carson. This is Cecil B. DeMille saying good night to you from Hollywood. Next month, October 16th, the Lux Radio Theater celebrates its 10th anniversary on the air. We'd like you to share in this celebration by helping us select the play and stars you'd like most to hear. Send your suggestions on a postcard to CB DeMille, Post Office, Fox 9, Hollywood 28, California. Or use the ballot which your Lux Toilet soap dealer will be glad to give you. Suspicion was presented through the courtesy of RKO producers of Bribe by Mistake. Olivia de Havilland will soon be seen in her latest Warner Brothers picture, Devotion. William Powell appeared through the courtesy of Metro Goldwyn Mayer, producers of the Technicolor picture Kismet. Heard in tonight's play were Charles Irwin as Beaky, Lois Corbett, Vernon Steele, Gloria Gordon, Charles Seal, Dwayne Thompson, Eric Snowden and Claire Verdera. Our music was directed by Louis Silvers. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. And now an announcement aimed straight at the fun loving hearts of America's people. Your beloved old friends Amos and Andy are returning to the air on Friday night. Yes, the boys are back again with their big cast in their grand half hour show. Their guest for Friday evening, John Charles Thomas, famous Metropolitan Opera star, will be around Riot in his Amos and Andy role. There will be super music and as you know, each broadcast is a complete episode. So see your paper for time and station and don't miss Amos and Andy on this Friday. This is your announcer, John N. Kennedy, reminding you to tune in again next Monday night to hear Lucky Partners with Don Amici, Lucille Ball and Jack Car. Fry S P R Y Better, better.

[Lena]

Cook with fry because you'll be a.

[Johnny]

Better, better pick with star Cakes, pies, fried foods Everything tastes better made with new easy mix fry shortening. So for light, fluffy cakes, tender, flaky pastry, crisp, digestible fried foods. This is cbs, the Columbia Broadcasting System.

[Adam Graham]

Welcome back. As a film, Suspicion was originally released in 1941, and it starred Joan Fontaine, Haviland's sister and Cary Grant. And Fontaine actually won the Best Actress Oscar as well as being recognized for her acting in the film by the National Board of Review and the New York Film Critics Circle Award. The one thing about Lux and a lot of episodes, because there are some episodes of Lux Radio Theater where you get a substitute of leads, and it just comes down to the fact that at that point, the original leads they couldn't afford. You know, that's the case when you get, say, into the 1950s. But oftentimes you get to explore the idea of alternate casting where we go ahead and we say, well, what if we replace these two famous Hollywood leads with two other famous Hollywood leads? How would the movie be different? And it's fun to explore that. And I honestly think that de Havilland does a great job here and really gets us invested in her emotions as well as understanding and believing in her feeling of being threatened. William Powell is good, although I don't think he makes much of an attempt to make us believe that he is British. There's no type of accent that's attempted at all. And you get a really American accent. But that wasn't totally unheard of for the era. It is something that I kind of guessed at and checked. But in the film, Beaky was actually played by Nigel Bruce. And that does explain part of the performance that we get in this. As were trying to say, just, I am giving you my best Nigel Bruce interpersonation here. And it's. It's a decent enough take in that regard. I find the story really interesting. It was a Hitchcock film. And so you kind of expect things to turn out to be as dark and sinister as she expects, if not more so. So it's a surprise when it turns out the things that she thought were sinister weren't quite what she thought they were. And I think it's an interesting journey for her as a character. I don't think that she is irrational really in her fears. I think her fears make sense, but the reason they make sense is that she marries married Johnny without really knowing who he was, other than she was aware that he married her for her money and began to become aware that he had lied to her about things or he was not quite what he seemed to be. But people do change And I think that's what really hard to process or believe if you're dealing in a relationship where because of choices you both made, you've ended up not trusting this person at all. So I think it plays out as a really interesting and different dynamic, particularly if you come into it thinking, well, I kind of know what this is going to be like. It's a Hitchcock story, and it just turns another direction than you would typically expect. All right, well, I hope you've enjoyed this episode. We've got another full week of Olivia de Havilland, so join us back here on Monday for the fourth episode in our series. In the meantime, send your comments to Box 13 at Great Detectives. Net. From Boise, Idaho, this is your host, Adam Graham, signing off.