Screen Director’s Playhouse and Suspense

Summary

The Relic Radio Show: Episode Summary Episode Title: Screen Director’s Playhouse and Suspense
Host/Author: RelicRadio.com
Release Date: March 18, 2025

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Introduction

In this episode of The Relic Radio Show, hosted by RelicRadio.com, listeners are transported back to radio's golden age with two captivating old-time radio dramas: "Trade Winds" from Screen Director's Playhouse and "The Pasteboard Box" from Suspense. The host skillfully navigates through these classic tales, providing insightful commentary and highlighting significant moments within each story.

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Screen Director’s Playhouse: "Trade Winds"

Overview:
"Trade Winds" is a suspenseful drama starring Frederick March as Sam Y., a determined detective, and Lorene Tuttle as Kay Kerrigan, the enigmatic woman at the center of a murder case. Directed by Tay Garnett, known for his thrilling direction in films like Mrs. Parkington and Valley of Decision, this episode delves into a complex narrative of murder, romance, and deceit.

Plot Summary:
The story unfolds with Commissioner entrusting Sam Y. (played by Frederick March) to investigate the mysterious case of Kay Kerrigan, who is implicated in the murder of Tommy Broom II, a notorious playboy. Despite initial skepticism about Kay's innocence, Sam is compelled to take the case, revealing his own motivations and personal connections.

Key Scenes and Discussions:

1. Commissioner's Proposal (00:44 - 05:15):
   The commissioner approaches Sam Y. with the case, highlighting Kay Kerrigan's disappearance after Tommy Broom II was found dead.

   • Notable Quote (04:17):
     Commissioner: "Look, Sam, Kay Kerrigan happens to be a very beautiful woman."
     Frederick March (Sam Y.): "Now I know why you need me."

2. Sam and Gene's Conversation (05:15 - 12:57):
   Sam discusses his impending investigation with his secretary, Gene Flannery, revealing his commitment and the personal sacrifices he's making.

   • Notable Quote (05:33):
     Frederick March (Sam Y.): "Don't you realize, baby, that a girl like you happens only once to a man. Only once may he reach up and touch the stars."

3. Encounter with Kay Kerrigan (07:21 - 17:08):
   Sam meets Kay on a ferry, moments filled with tension and subtle romantic undertones. Their interaction hints at deeper complications in the case and their personal lives.

   • Notable Quote (08:08):
     Frederick March (Sam Y.): "Only once may he reach up his hand and touch the stars."

4. The Twist (17:08 - 27:24):
   As the investigation progresses, Sam discovers discrepancies in Kay's story. Gene uncovers crucial evidence linking Kay to the murder, leading to a dramatic revelation and confrontation.

   • Notable Quote (20:56):
     Frederick March (Sam Y.): "You are vile."

5. Climactic Resolution (27:24 - 30:17):
   The truth about Kay Kerrigan unfolds with Sam exposing her deceit, ultimately resolving the murder case. The episode concludes with a return to the reality of radio production, seamlessly blending fiction with behind-the-scenes commentary.

   • Notable Quote (26:24):
     Frederick March (Sam Y.): "It's more than I deserve. It's a lot more than you're going to get, Sam."

Character Analysis:

• Sam Y. (Frederick March): A dedicated and morally conflicted detective whose personal feelings complicate his professional duties. His internal struggle adds depth to the narrative, making him a compelling protagonist.

• Kay Kerrigan (Lorene Tuttle): A mysterious and beautiful woman whose actions drive the plot's suspense. Her interactions with Sam reveal layers of deception and emotional turmoil.

• Gene Flannery (Gene Flannery): Sam's loyal secretary, whose discovery of key evidence propels the investigation forward. Her character adds a dynamic element to the story, showcasing the importance of support roles in detective narratives.

Notable Highlights:

• Directorial Expertise: Tay Garnett's direction is evident in the episode's pacing and tension-building, making "Trade Winds" a standout production.

• Emotional Depth: The interplay between Sam and Kay adds a layer of romance and personal conflict to the murder mystery, engaging listeners on multiple levels.

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Suspense: "The Pasteboard Box"

Overview:
Following "Trade Winds," the episode transitions to "The Pasteboard Box," a thrilling tale produced by Suspense. Narrated by Joseph Cotton, this story intertwines elements of mystery and psychological drama, keeping listeners on the edge of their seats.

Plot Summary:
"The Pasteboard Box" centers around Joseph Cotton, who becomes entangled in a web of deceit and murder following a series of seemingly coincidental events. The narrative explores themes of identity, betrayal, and the thin line between sanity and madness.

Key Scenes and Discussions:

1. Joseph's Struggle (31:44 - 39:XX):
   The protagonist grapples with guilt and confusion after disposing of his brother's body and assuming his identity. The suspense builds as Joseph navigates police scrutiny and personal anguish.

2. Climactic Confrontation (43:08 - 56:58):
   Joseph faces off with the police, revealing the truth behind the events and his intricate deception. The tension culminates in a dramatic revelation about his true intentions and the fate of those involved.

3. Final Twist (56:58 - End):
   The story concludes with a masterful twist that redefines the narrative, leaving listeners pondering the complexities of truth and perception.

Notable Quotes:

• Notable Quote (56:14):
  Tay Garnett (Joseph Cotton): "That would prove it, wouldn't it? Or wouldn't it?"

• Notable Quote (56:34):
  Narrator: "Me, Mr. Fel it. To me it looks like just an ordinary goldfish ball."

Character Analysis:

• Joseph Cotton (Played by Joseph Cotton): A man driven to desperate measures, whose psychological unraveling serves as the core of the suspense narrative. His character embodies the struggle between right and wrong in dire circumstances.

• Supporting Characters: Various individuals who interact with Joseph, each adding layers to the mystery and contributing to the story's intricate plot development.

Production Highlights:

• Atmospheric Soundscapes: The use of sound effects and background music enhances the suspenseful atmosphere, immersing listeners in Joseph's harrowing journey.

• Narrative Complexity: "The Pasteboard Box" excels in weaving multiple narrative threads, keeping the audience engaged and constantly guessing until the very end.

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Host Commentary and Insights

Throughout the episode, the host provides valuable context and behind-the-scenes insights into the production of these classic radio dramas. Notably, Lorene Tuttle discusses the challenges of filming in exotic locations, emphasizing the dedication required to create authentic backgrounds for "Trade Winds" (02:18). Additionally, the host highlights the collaboration between actors and directors, shedding light on Tay Garnett's directorial prowess and his ability to elevate storytelling through meticulous direction (01:15).

Notable Host Quote (28:04):
"Frederic March and Lorene Tuttle bring their characters to life with such authenticity, making 'Trade Winds' a timeless piece in radio drama history."

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Conclusion

This episode of The Relic Radio Show masterfully blends enthralling old-time radio dramas with insightful commentary, offering both entertainment and appreciation for radio's rich history. "Trade Winds" captivates with its complex characters and suspenseful plot, while "The Pasteboard Box" maintains tension through its psychological depth and unforeseen twists. The host's knowledgeable narration ties the narratives together, providing listeners with a comprehensive and engaging listening experience.

Final Notable Quote (60:18):
Host: "Thanks to those who have helped out. Thanks for joining me this week. I'll be back tomorrow with an hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show."

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Additional Content:

• Advertisements and Promotions: The episode includes promotional segments for Roma Wines and upcoming plays, seamlessly integrating period-appropriate advertisements that enhance the authenticity of the old-time radio experience.

• Upcoming Episodes: The host hints at future content, including a mystery segment titled "Case Closed" and subsequent episodes featuring more classic radio shows, encouraging listeners to return for continued enjoyment.

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This summary aims to provide a comprehensive overview of the episode, capturing essential plot points, character dynamics, and the enriching commentary provided by the host, ensuring that both seasoned fans and new listeners can fully appreciate the timeless allure of old-time radio dramas.

Transcript

[Host]

This is the Relic Radio Show. Old Time Radio Entertainment. Still standing the test of time. From relicradio.com this is the Relic Radio Show. 60 minutes of radio drama every Tuesday at relicradio.com the first story comes from Screen Director's Playhouse. This week we'll hear trade winds from May 29, 1949. Suspense follows that with the pasteboard box. Their story from January 17, 1946.

[Announcer]

From Hollywood, the NBC Theater presents.

[Frederick March]

Screen Director's assignment production Trade Wins.

[Tay Garnett]

Director Tay Garnett. Star, Frederick.

[Announcer]

The Hollywood screen directors present a merry mixture of murder and romance. Trade Winds, starring Frederick March. And introducing the director of the film, Tay Garnet. The first motion picture job taken by tonight's guest screen director literally put him head and shoulders above everyone else. In fact, he was several thousand feet above them, creating thrills as a stunt pilot. And when he came back to earth, he went right on creating thrilling entertainment as a writer and director. His expert direction ornaments such standout films as Mrs. Parkington, Valley of Decision, the Postman Always Rings Twice. And tonight's story, Trade Winds. Ladies and gentlemen, Mr. Tay Garnett.

[Lorene Tuttle]

Thank you. Shortly before we made Trade Winds, I had an idea for filming some unusual motion picture background. The plan called for someone to take a small boat and cruise the world with a camera, sailing the South Seas, the tropics, the Orient. But how could I ask a man to tear himself away from Hollywood and do a thing like that? I just couldn't. So I did it myself. It was quite a sacrifice. But we came back with much of the background for Trade Winds and. And with the story itself. Now, here it is. Trade Winds, starring Frederick March as Sam Y. The role he created with Lorene Tuttle as Kay Kerrigan.

[Frederick March]

Many of you will remember the Kay Kerrigan case in San Francisco last year. How can you forget it? I was on it. Kay Kerrigan, a very palatable dish, visited the apartment of Tommy Broome ii, a notorious playboy. The following morning, Tommy Broom II was discovered to be a cadaver with a neat bullet hole in the base of his brain. Kay Kerrigan disappeared. She disappeared so thoroughly that the police commissioner finally decided to send for me, bloodhound that I am.

[Commissioner]

There you are, Sam. The suspect's handbag with all the identification in the world. And these black antelope gloves.

[Frederick March]

Ms. Kerrigan left the scene of the crime in a hurry.

[Commissioner]

She left everything but a signed confession.

[Frederick March]

All right, Commissioner, but where do I come in? You've got your own detectives, and very talented they are for amateurs.

[Commissioner]

Kay Kerrigan happens to be a Very beautiful woman.

[Frederick March]

Now I know why you need me.

[Commissioner]

Last we heard of her, she'd pawned a ring in Honolulu.

[Frederick March]

Running low on Doe. But if she's beautiful, she couldn't kill anybody.

[Commissioner]

Look, Sam, look. Tommy Broom broke her kid sister's heart. Kid sister commits suicide in the Bay. Kay goes gunning for Tommy. Kay leaves calling cards all over the place. But just because she's an attractive dish, you call her innocent.

[Frederick March]

Commissioner, this is a democracy in America.

[Tay Garnett]

I know, I know.

[Commissioner]

A man is innocent until he's proven guilty. That I know. Now, look, Sam. Look, do you want the case or do I put George Faulkner on the trail?

[Frederick March]

George Faulkner? Who's George Faulkner? A better man than you are. Gunga Din. Sam Wise the name. Who are you?

[Commissioner]

I ask you a question, Sam. Do you want the job?

[Frederick March]

What's this matinee idol got that I haven't got? Who are you? George Faulkner. Never heard of you.

[Commissioner]

Faulkner always gets his man.

[Frederick March]

Kate Kerrigan is a woman.

[Commissioner]

That's the only reason I prefer you on this particular case.

[Frederick March]

You're a very shrewd judge of talent, Commissioner. I accept the job. Excuse me while I telephone my office.

[Gene Flannery]

Sam. Why? Private investigation.

[Frederick March]

Gene, honey, I'm. I'm off to the Orient to bring back Kay Kerrigan.

[Gene Flannery]

Oh, swell.

[Frederick March]

When we leave, I'm going alone, solo, by myself. Solitaire.

[Gene Flannery]

And leave me here to stall the landlord?

[Tay Garnett]

Oh, no, you don't, darling.

[Frederick March]

Do you think I'm leaving you because.

[Commissioner]

I want to or because there's dough in it?

[Frederick March]

Don't you realize, baby, that a girl like you happens only once to a man. Only once may he reach up and touch the stars. And you are that once for me. Don't you know that, Genie?

[Gene Flannery]

Oh, gee, Sam, I'm sorry.

[Frederick March]

Of course you are. And don't forget to stall my tailor too.

[Gene Flannery]

You heel.

[Frederick March]

Bye.

[Tay Garnett]

Bye.

[Frederick March]

Genie.

[Commissioner]

You even conned that poor secretary of yours into liking you.

[Frederick March]

Being a cad is a full time operation.

[Commissioner]

Now, Sam, there's just one more thing about this cake Harrigan. She loves the piano. Chopin played badly. Greats on her nerves.

[Frederick March]

That's the lead. Who plays Chopin worse than I do. So long, Commissioner. Table. You from Honolulu. Dear Commissioner, having a fine time. Wish you were her.

[Commissioner]

Who is her? What gives? Reply at once.

[Frederick March]

Sorry. Correction. Having fine time. Wish you were here.

[Commissioner]

Where is Kerrigan?

[Frederick March]

Kerrigan?

[Tay Garnett]

Oh, her.

[Frederick March]

Kerrigan leaving Honolulu tonight for Singapore under name of Mary Holden. Will remove Hawaiian Babe from my lap at once and dash off after Kerrigan worshipfully. Sam.

[Tay Garnett]

Yes?

[Gene Flannery]

Oh, dear.

[Kay Kerrigan]

Please, please. You mustn't place your pan like that again.

[Frederick March]

Hello. I thought everyone but me had gone to their staterooms.

[Kay Kerrigan]

I heard you play, if I may call it that. I had to stop it.

[Frederick March]

I'm glad.

[Kay Kerrigan]

Why?

[Frederick March]

You've made something happen to me. Only once may a man reach up his hand and.

[Kay Kerrigan]

Go on.

[Commissioner]

Sam.

[Lorene Tuttle]

Y.

[Frederick March]

My name is Sam Y. I'm Mary Holden. Hi.

[Kay Kerrigan]

Hello. Do you mind if I show you how that prelude ends? It's only fair to present Chopin's side of the argument. But I'll need my right hand. You still have.

[Frederick March]

I need it too.

[Kay Kerrigan]

Please.

[Frederick March]

You see, this? This happens only once to a man. Only once may he reach up his hand and touch the stars.

[Kay Kerrigan]

That, I believe, is known as a line.

[Frederick March]

Yes, it is.

[Kay Kerrigan]

You speak it as though you rehearsed it a lot.

[Frederick March]

On every possible occasion.

[Kay Kerrigan]

At least you're honest about it.

[Frederick March]

Tell me, where will you stay in Singapore?

[Kay Kerrigan]

The Raffles Hotel.

[Frederick March]

Things to do in Singapore. The places, the faces, the races. See you in Singapore.

[Kay Kerrigan]

Raffles Hotel. Come on, vanishing lady.

[Tay Garnett]

Run for it. Run.

[Frederick March]

Run. Take it easy, Mary. She's coming up.

[Tay Garnett]

All right, Sam.

[Kay Kerrigan]

Who's that horrible big horse ahead of her?

[Frederick March]

Oh, that's Sahib. He's a long shot.

[Gene Flannery]

I hate Sahib.

[Kay Kerrigan]

I hate Sahib.

[Frederick March]

Sahib, she hates you. So there, vanishing lady.

[Kay Kerrigan]

Stumble.

[Gene Flannery]

She's down.

[Narrator]

Sahib win.

[Kay Kerrigan]

What'll I do? Oh, what'll I do?

[Frederick March]

Did the money really mean that much to you?

[Kay Kerrigan]

Mary, if you only knew.

[Frederick March]

And I'm glad I placed your money on Sahib.

[Kay Kerrigan]

You put my money on Sahib?

[Frederick March]

Yes, mem Sahib.

[Kay Kerrigan]

Ah, sad.

[Frederick March]

Switched your bet at the last moment.

[Kay Kerrigan]

Oh, I don't know what to do in a case like this.

[Frederick March]

Just send me flowers.

[Kay Kerrigan]

No, really. It means so much to me.

[Frederick March]

Well, then, dinner at 8, and let's hold hands in the moonlit jungle patio, hmm?

[Kay Kerrigan]

Yes, but what can I do for you? It's beautiful out here, Sam.

[Frederick March]

Moonlight becomes you.

[Kay Kerrigan]

Beautiful and eerie. Unearthly. Makes everything seem far away. Sad things seem gone. Only the lovely things are here.

[Frederick March]

They are for me.

[Kay Kerrigan]

Lying. Gospel, Peace, sanctuary. And a good friend. Thank you, good friend. Sam Marriott. I must tell you something.

[Frederick March]

Perhaps you'd better not.

[Kay Kerrigan]

Yes, I needed money to go away desperately. Not.

[Frederick March]

Not yet.

[Kay Kerrigan]

Sam, promise me that. We'll take every moment and treasure it. All we can hope for is a few great moments and then goodbye. When I go, let me go. No regrets. And promise me you won't try to follow me.

[Frederick March]

You're asking a lot, Sam.

[Kay Kerrigan]

The moments are slipping away.

[Frederick March]

Okay, darling.

[Kay Kerrigan]

Sam. What did you just call me? What you used a name. You said. I think I heard you say.

[Frederick March]

I said. Okay, darling. Oh, okay.

[Kay Kerrigan]

Okay, darling. Okay. Come in for a minute in the nightcap, Sam.

[Frederick March]

I don't mind if you don't mind. Yeah, Let me unlock it.

[Kay Kerrigan]

No, thanks. No, I've got it. Oh, the lights are on. Jeanette must be up.

[Narrator]

Jeanette?

[Kay Kerrigan]

Yes, my somewhat French maid. I just hired her today.

[Gene Flannery]

Jeanette? Oui, mademoiselle. Just a minute.

[Kay Kerrigan]

When Jeanette comes in, tell her what you want. Sam, I'll change to something more calm.

[Gene Flannery]

Mademoiselle sent for me? Yes. Oh, no.

[Frederick March]

Genie, what are you doing in Singapore?

[Gene Flannery]

Well, I'm training Kay Kerrigan. What are you.

[Frederick March]

Kay? KK Kerrigan is in the Casablanca.

[Gene Flannery]

You want a wager?

[Frederick March]

Well, she's running a shooting gallery in the Caspar.

[Gene Flannery]

Look, Sam, I'm your secretary and I know all your tricks.

[Frederick March]

All right, Gene, what do you want?

[Gene Flannery]

$50,000.

[Frederick March]

I'll give you five. What are we talking about?

[Gene Flannery]

Tommy Broom's father has offered $100,000 reward for Kay Kerrigan.

[Tay Garnett]

Wow.

[Gene Flannery]

I get half.

[Frederick March]

I'll give you 10. Five. All right. I'll raise your salary half.

[Gene Flannery]

And that doll in there is Kay Kerrigan.

[Frederick March]

All right, Jeannie, you win.

[Gene Flannery]

Well, thanks, bud. And now I will get him for you. The beverage.

[Frederick March]

Oh, no.

[Gene Flannery]

In one minute will be the stock.

[Frederick March]

Oh, Genie, please work fast. Sam, why work fast?

[Tay Garnett]

Fast?

[Frederick March]

I. I want to send the cablegram.

[Tay Garnett]

Hurry.

[Kay Kerrigan]

Genie.

[Frederick March]

Yes, Ry for me, please.

[Gene Flannery]

What you say, mister?

[Frederick March]

Y r? Please.

[Gene Flannery]

Mercy.

[Frederick March]

Hello. This goes the chief of. Oh, the chief of. Detective San Francisco police have captured carrigan single handed. 100,000 payable to me. Only love and kisses, Sam. Yeah, Just charge that to the San Francisco. What do you mean? Isn't the city of San Francisco good for a lousy few bucks? All right, I'll come down and pay you. Mary. Yeah, I'm going down for some cigarettes. I'll be right back, honey.

[Gene Flannery]

Cable office, please. This is Gene Flannery, Mr. Samwise, secretary for my records. What was that message he just sent to the San Francisco police?

[Kay Kerrigan]

Oh, oh, the heel.

[Gene Flannery]

The double crossing heel. I'll murder the bum.

[Kay Kerrigan]

May we?

[Announcer]

You are listening to the Hollywood screen director's presentation of Trade Winds starring Frederick Marsh with Lorraine Tuttle and introducing the director of the film Tay Garnett.

[Gene Flannery]

Mademoiselle. Hey, mademoiselle. Open up.

[Kay Kerrigan]

Dr. Neck.

[Gene Flannery]

Whatever's the matter? Je vous seriously advised to take a powder.

[Kay Kerrigan]

Take a powder? That's what I feel. Fine.

[Gene Flannery]

Look, this Sam y personality is not whom you think he is. He is a detective.

[Kay Kerrigan]

A detective?

[Gene Flannery]

The poor Manzellary queen. And he's after you.

[Kay Kerrigan]

Oh, I can't believe it. You gotta believe it.

[Gene Flannery]

I'm his secretary. And I know, but I'm on your side. Now, we women have just got to stick together. Also, there is a hundred cheese on your head, and Sam is gobbling the whole reward.

[Kay Kerrigan]

I've got to get away.

[Gene Flannery]

You can try, but he's awfully good at finding people.

[Kay Kerrigan]

I'll go to Colombo. Oh, no.

[Gene Flannery]

They got cops in Ohio, too.

[Kay Kerrigan]

I mean Colombo. Ceylon. Oh. Well, I'll. I'll go with you. Why?

[Gene Flannery]

I don't know.

[Kay Kerrigan]

I guess it's just because I. I want to help you. Why are you crying? Oh, it's such a beautiful gesture of giving up 50 grand for a friend. Such a beautiful gesture.

[Frederick March]

All right, Kate. Stop playing. Turn around.

[Kay Kerrigan]

I knew it was you when I heard your steps.

[Frederick March]

Stop playing, Kay. I've come for you.

[Kay Kerrigan]

I knew coming to Colombo wouldn't help.

[Frederick March]

You can't get away from me, Kane. Turn around.

[Kay Kerrigan]

I ought to hate you.

[Frederick March]

You do.

[Kay Kerrigan]

No. You're a confirmed heel, a grand chancellor, the head of the lodge. But I can't hate you.

[Frederick March]

Okay.

[Kay Kerrigan]

Oh, Sam. Hold me. Hold me in your arms, darling. Hold me tight for a moment and then take me back. I don't care.

[Frederick March]

I do, darling. Oh, darling.

[Kay Kerrigan]

And now let's see you put up your hands. Hey, all I wanted was your shoulder gun. You cheap flat foot.

[Frederick March]

You wouldn't shoot me.

[Kay Kerrigan]

Oh, yes, I would. I shot Tommy Broom, didn't I? And you're two of a kind.

[Frederick March]

Don't move, Kate.

[Kay Kerrigan]

I've heard that one, too. Don't move, darling. I want to remember you always, just the way you are.

[Frederick March]

Listen to me, Kay. I know how you feel about me, but you've got to believe in me unquestioningly in the next few moments. Believe in you as you value your life. Kate. Don't move.

[Kay Kerrigan]

Why? What's the matter?

[Frederick March]

Don't turn around to the piano again. Don't raise your voice or make any sudden motion. And very carefully, very, very carefully lower that gun and drop it on the floor in front of me. Or I can pick it up without moving his steps.

[Kay Kerrigan]

Threw back the gun. Ridiculous.

[Frederick March]

Do as I tell you, Kay, and in heaven's name, don't turn around because there's a king cobra behind you coming out of the piano, and he can't decide whether he should bite you or not. But if he does strike, he'll get you in the back of your neck. And you won't live 30 seconds. So easy does it, Kay. Perhaps the drone of my voice will keep him steady.

[Kay Kerrigan]

How do I know you're not lying to me? How do I know it's not just another trick?

[Frederick March]

Maybe you've got to tell. Take your chances, either with me or with that big ugly brute weaving back and forth behind you. Now lower the gun, I say. Slowly, slowly. That's it. Slow. Slow. Now drop it. Don't throw it. Drop it. Good girl. Now stand perfectly motionless while I stoop and try to pick up the gun. Because besides being the deadliest snake in the east, the hooded cobra is absolutely an hysterical creature. Flies into a frenzy over nothing. And then. Watch out. That's all. Watch out. And I've got the gun. Now that's straightened up. And again. I've got to keep on talking. I don't know what to say anymore. Except maybe four score and seven years ago, our father's brought forth in this continent. Steady, girl. I think I can get a beat on its head. Past your left ear. A new nation received in liberty. He's weaving, he's weaving, he's weaving. And dedicated to the proposition. Don't move. And I'm waiting for my chance, Sterling. And I've got to keep on talking. Keep on talking. It came to pass that when they were in the field that Cain rose up against Abel, his brother, and slew him. Steady, honey. And the Lord said unto Cain, where is Abel, thy brother? And he said, I know not. I know not. S Am I my brother's keeper? S It's all right now. You can turn around. Oh, you passed through eight feet of murder.

[Kay Kerrigan]

K. Oh, how horrible.

[Frederick March]

Eight feet of death with his head shot off.

[Kay Kerrigan]

Oh, Sam, darling. Ho. I'm so afraid.

[Frederick March]

Don't.

[Kay Kerrigan]

I'm so frightened.

[Frederick March]

It's over now, dear. You'll never have to be afraid again. We're going away together, Kay, you and I. We lose ourselves from men and their manhunts. Away from everything.

[Kay Kerrigan]

Just you and I. I shot a man's head. I killed a man.

[Frederick March]

You killed a snake, too.

[Kay Kerrigan]

You can't justify murder, Sam. I shot him, I tell you. I shot him in the heart.

[Frederick March]

The heart? But Tommy Boom was shot.

[Kay Kerrigan]

Don't throw your life away from me.

[Frederick March]

Listen. Listen. We'll drift together peacefully, drifting down the trade winds of the east together, you and I.

[Kay Kerrigan]

No, Sam. No. Let's have three months together. Three months of perfect happiness. Sam. It's more than most people have in their entire lives.

[Frederick March]

It's more than I deserve. It's A lot more than you're going to get, Sam. O. The Faulkner headquarters yanked me off that narcotics job I was on. It said something smelled funny around here. All right.

[Kay Kerrigan]

Oh, Sam, don't let him take me.

[Frederick March]

He won't, baby. You represent $100,000 on the hoof and it's all mine.

[Kay Kerrigan]

Not handcuffs, Sam.

[Frederick March]

100 grand, Kay. Bound to me by loops of steel.

[Kay Kerrigan]

You're doing this for money, Baby, I'm.

[Frederick March]

Losing you in any case. You can't expect me to pass up that reward too.

[Kay Kerrigan]

You are vile.

[Frederick March]

The dregs. Let's go, girl. San Francisco. You coming, Faulkner? Kerrigan and captor arrive from Orient self styled. Heel claims big reward. Jury still out. Kerrigan fate uncertain. Kerrigan guilty. Gumshoe heel celebrates with party.

[Gene Flannery]

Sam. Why, you miserable hound.

[Frederick March]

Miserable bloodhound. Are you?

[Gene Flannery]

Oh, you're funny, aren't you? Kay is guilty and you're throwing a big party in the late Tommy Broom's apartment. That does it for me. I quit.

[Frederick March]

No, you can't quit, Jeannie. I need you.

[Gene Flannery]

But who needs you then?

[Frederick March]

If you won't do anything for me, do something for Kay.

[Gene Flannery]

Cary, I smell a rat. Brat.

[Frederick March]

No, this is square. Take this pair of gloves to Kay.

[Gene Flannery]

Gloves to handle people like you with.

[Frederick March]

These are the gloves that were left in Tommy Broom's apartment the night he was killed. So take these gloves to Kay in her cell and then join me at Tommy Broom's apartment tonight.

[Kay Kerrigan]

Why?

[Frederick March]

Just do as I tell you.

[Gene Flannery]

Okay. Ken, hand me the gloves over a pencil I don't want to come in contact with. Well, where's the big party, Mr. Wild?

[Frederick March]

It hasn't arrived yet. And what about the gloves?

[Gene Flannery]

To begin with, Kay says they aren't even hers. In the second place.

[Frederick March]

I knew it. I knew it. That clinches it.

[Gene Flannery]

Clinches what?

[Frederick March]

Look, Kay has always admitted that she killed Broom, but she thinks she shot him in the heart. Whereas we know he was shot in the head. Yeah, but she says these aren't her gloves. She admits the murder. She has nothing more to hide. So why deny the gloves? The answer is they aren't hers. Some other woman left these gloves that night and did shoot Broom in the head after Kay left.

[Gene Flannery]

Hey, this gets to be like the radio. Comes a crystal clear explanation for Mr. District Attorney. I don't get it. I'm stupid.

[Frederick March]

Well, now listen. There were six women playing around with Broom at the time he was murdered. And these gloves belong to one of them. The one who nailed Tommy Broom. All six of those women have been invited here. Tonight, I'm going to put these gloves on the dressing room table, and you're going to hide in the next room and see what happens. Well, there's the first for the frolic. Keep your fingers crossed.

[Gene Flannery]

With you. I've got them double crossed.

[Kay Kerrigan]

Hey.

[Gene Flannery]

Hey, Sam.

[Frederick March]

Yeah, Jean?

[Gene Flannery]

You know that Bartlett woman, the sex bull?

[Frederick March]

Yeah, yeah.

[Gene Flannery]

She didn't touch the Glo. Sam.

[Frederick March]

Yeah?

[Gene Flannery]

Been casing that Kitty Utter back on the gloves.

[Frederick March]

Go on. Go on.

[Tay Garnett]

Nothing.

[Gene Flannery]

Hey, Sam. Got a nibble.

[Frederick March]

Which one?

[Gene Flannery]

Taffy Holiday. You know, the strip teaser. She picked up the gloves.

[Tay Garnett]

She did?

[Gene Flannery]

Put them back again.

[Frederick March]

Oh, great.

[Gene Flannery]

Yeah. What does she want with clothes?

[Frederick March]

Yeah.

[Gene Flannery]

Mrs. Cornell.

[Frederick March]

It's not going to work.

[Gene Flannery]

Cornell took the gloves.

[Frederick March]

Cornell?

[Gene Flannery]

Yeah. Ma'am.

[Tay Garnett]

Yay.

[Kay Kerrigan]

Princeton.

[Frederick March]

Mrs. Cornell. Oh, you like that pair of black antelope gloves?

[Kay Kerrigan]

What gloves?

[Frederick March]

The ones you just slipped into your purse.

[Kay Kerrigan]

Oh, I. I thought they were mine. I'm sorry.

[Frederick March]

They are yours.

[Kay Kerrigan]

No, no, really. Although they did look like a pair I lost months ago.

[Frederick March]

They are the pair you lost months ago in Tommy Broom's apartment. This apartment.

[Kay Kerrigan]

No, I didn't kill Tommy.

[Frederick March]

I didn't say you did. But I was going to.

[Kay Kerrigan]

It's a lie. I didn't shoot him. I was there, but I didn't kill him. Walter, my husband, found me there.

[Frederick March]

Go on. Walter killed him.

[Tay Garnett]

No. No.

[Frederick March]

If Walter didn't kill him, you did.

[Kay Kerrigan]

All right, Walter shot him. But I'll never admit that to anyone else. After Kay Kerrigan left, Walter came in and found me with Tommy and shot him.

[Frederick March]

You've been darling so far. Can you help me out on one more thing? What makes Kay Kerrigan think she killed Tommy?

[Kay Kerrigan]

Oh, what a word Tommy Broom really was. He had a revolver loaded with blanks that he'd give to women who threatened to kill him. It always cooled them off. But not Kay. She pulled the trigger on him. He had to fall down just to make it look good. But was he surprised? Satisfied? Too bad you have no witness to all this.

[Frederick March]

Yes. Yes, isn't it? Jean. Jeannie.

[Gene Flannery]

Jeanette Handek, Monsieur.

[Frederick March]

Did you get it all?

[Gene Flannery]

Got it all.

[Kay Kerrigan]

Why, you.

[Frederick March]

Good girl. My arm. Mrs. Cornell, shall we go down to the courthouse and simply wow the custom? Kay Kerrigan freed sails with captor on honeymoon today.

[Kay Kerrigan]

K. Yes, Sam.

[Frederick March]

K it.

[Kay Kerrigan]

Yes, Sam. Katie, you're in a rut.

[Frederick March]

Yeah, it's awful. I have only two moods. Either I'm shooting a line, or I can't talk at all. When I'm sincere and feel something very richly and deeply. Darling, I can't say a word. When I know at last that this happens only once to a man, that only once may he reach up his hand and touch the stars.

[Kay Kerrigan]

Line.

[Frederick March]

See what I mean?

[Kay Kerrigan]

Yes, sir K yes, sir K yes, sir K Now you're talking.

[Announcer]

Our guests will return in just a moment. Next week, the NBC theater proudly presents a motion picture drama based upon one of America's most distinguished short stories, Ernest Hemingway's hard hitting tale, the Killers. And our stars will be Burt Lancaster and Shelley Winters. The NBC theater extends cordial 7th anniversary birthday greetings to the Armed Forces Radio Service, which each week broadcasts our program on 60 overseas stations to an audience of thousands of American service personnel and millions of foreign listeners. Now here again are tonight's stars, Frederic March and Lorene Tuttle, and screen director, Tay Garnett.

[Kay Kerrigan]

Mr. Dominic, you must have seen some amazing sights on that cruise you made around the world.

[Lorene Tuttle]

Oh, I did. There was one native village in the Fiji Islands with a kind of ceremonial hut in the center. Women kept going in and out.

[Frederick March]

What's amazing about that tape, something awfully.

[Lorene Tuttle]

Powerful must have been happening inside. They came out with the darndest, dreamiest expressions I've ever seen.

[Frederick March]

You ever find out what went on in that hut?

[Lorene Tuttle]

I did. And I was profoundly shocked.

[Kay Kerrigan]

What was going on?

[Lorene Tuttle]

A Frederick March movie.

[Frederick March]

Oh. Oh, well, that's really nothing. You know, Ms. Tuttle, I had a friend once who had an even more shocking experience than Tay's.

[Kay Kerrigan]

What was it, Mr. March?

[Frederick March]

Well, he was stranded beside a cave on a desolate island, and every night a strange, eerie noise would come out of the mouth of the cave.

[Kay Kerrigan]

What was that? A Tay Garnett picture?

[Frederick March]

No, it was Tay Garnett.

[Kay Kerrigan]

Well, what was he doing in there?

[Lorene Tuttle]

Probably trying to figure out a way to top Freddie March on his story.

[Frederick March]

Don't you believe it, Ms. Tuttle. When it comes to stories, Tay is one of the most brilliant men in Hollywood, whether he's writing them or directing them.

[Lorene Tuttle]

Thanks, Freddie, but after a compliment like that, I think I'd better get back to my cave. Good night. Good night, everyone.

[Frederick March]

Good night.

[Kay Kerrigan]

Good night.

[Announcer]

And good night to you, Frederick Marx, Ring Tuttle and Kay Garnett. Trade Winds was presented through the courtesy of United Artists. Frederick March will soon be seen with his wife, Florence Eldridge in the new film Christopher Columbus. Tay Garnett is currently preparing the picture White Jade, and his latest film is the Paramount Technicolor production, A Connecticut Yankee and King Arthur's Court, starring Bing Crosby, Rhonda Fleming and William Bendix. Included in tonight's cast were Gigi Pearson, Wally Mayer, Betty Moran, Jim Nusser and Dan Riss. Tay Garnett was heard by transcription. Trade Winds was adapted for radio by Milton Geiger. And original music was composed and conducted by Henry Russell. Production was under the supervision of Howard Wiley. Associate producer Bill Karn. Your announcer has been Frank Barton. Listen again next week when the NBC.

[Frederick March]

Theater presents screen director's assignment production the Killers. Director Robert Siotmak stars Burt Lancaster, Shelley Winters.

[Announcer]

The NBC Theater came to you from Hollywood.

[Tay Garnett]

30 minutes of melodies from Hawaii follow now on American album of familiar music. Then listen for Take it or Leave it with Gary Moore and Horace Heights Original Youth Opportunity program. All three follow immediately on most of these stations. This is NBC, the national broadcasting Company.

[Narrator]

Now, Roma Wines R O M A made in California. For enjoyment throughout the world. Roma Wines present Suspense. Tonight, Roma Wines bring you Mr. Joseph Cotton as star of the Pasteboard Box, a suspense play produced, edited and directed for Roma Wines by William Spear. Suspense Radio's outstanding theater of thrills is presented for your enjoyment by Roma Waynes. That's R O M a Roma Wines, those excellent California wines that can add so much pleasantness to the way you live, to your happiness and entertaining guests to your enjoyment of everyday meals. Yes, right now a glass full would be very pleasant as Roma Wines bring you Mr. Joseph Cutton in a remarkable tale of suspense.

[Tay Garnett]

David Walter. Taking all of that I can. I'm through, you understand? Through. Oh, I'm sorry, sir.

[Frederick March]

I couldn't help but overhear.

[Tay Garnett]

What's the difference now?

[Narrator]

I hope you haven't quarreled seriously with your brother.

[Tay Garnett]

Quarrels? What else have I ever done with him at quarrels? I realize he's a bit difficult at.

[Frederick March]

Times, sir, but I'm sure he has.

[Narrator]

Your best interest at heart.

[Tay Garnett]

Yeah, well, from now on he can stop worrying about my best interests because I'm getting out of his life tonight for good. Grabbed my attachment, rushed out of the house looking wild eyed and distracted. I caught a taxi right in front of the door and told him to go to the 23rd Street Ferry. On the ferry I stood by the stern rail. I walked up and down, puffing hot on a cigarette, looking out into the fog and acting nervous and jumpy. I leaned against the rail and hard my head down on my arm. Two or three people standing around out there began to look at me. Then when we were about a third of the way out in the stream, I took off my coat, had my name and address written with indelible ink on the label. And my hat that had my initials stamped in gold on the sweatband and laid them down on the deck, climbed up on the rail and jumped. It was as easy as that. A fight with my brother that was loud enough so the houseman couldn't help but hear it. A jump off the 23rd Street Ferry, leaving plenty of identification behind. An easy swim back to shore where I had planted my dry clothes. And a phone call to the news to report my own suicide was just as easy as that. On Friday afternoon, I waited across the street until I saw Williams, the houseman, leaving for his usual weekend. And then I let myself in the front door and walked back to the study. Come in, Williams. I thought you'd gone. Hello, Walter. Jack. The matter, Walter? You look as though you'd seen a ghost. Jack. Got well? Haven't you seen the papers? I thought you were dead. Yeah, I changed my mind. Jack, how could you? How. How could you have done such a thing? I didn't. I just went swimming, that's all. Don't tell anyone I'm here. Yes, this is Mr. Pycelle. Yes, I told you once it was broken. I'm sure I don't know. I know. Certainly I didn't break it. Yes, it's still in the box. I'll send you to pieces if you like. Well, that's a little late, I'm afraid. Oh, well, it doesn't matter anyway. It's the principle of the thing. Besides, I'm going out of town. Yes. Yes, I suppose there'll be someone here to receive it. All right, all right. Goldfish bowl. What? Oh, you know, I ordered a larger one and it arrived this morning all smashed up. And they were arguing about sending me a new one. There it is in that big square box. You can see for yourself it's smashed. That's certainly like you, Walter. At the last minute, you worrying about a two dollar goldfish bowl. What do you mean, the last minute? Well, you just said over the phone you were going out of town. Yes. What's the idea? Well, well, well, Jack, I. I was terribly upset when I heard that. Well, I thought. How about. Where are you going? Well, I. I hadn't quite made up my mind. I just wanted to get away. Taking quite a lot of luggage for just a little trip out of town. Aren't you, Walter, clearing the papers out of your desk, too, huh? Well, I. I simply thought I could get a little work done while I was away. Or were you thinking of staying away for a while because somebody might ask questions about why I jumped in the river. And the answers might make you look like a heel. Of course not. Such an idea never entered my head. You always were yellow. You'd run away from anything. Jack, that's. That's quite enough. That's right. Those are the truest words you ever spoke. And I wouldn't bother about packing luggage anymore if I were you. But why not? Because where you're going, you won't need any luggage.

[Frederick March]

What?

[Tay Garnett]

What do you mean? This is what I mean. Tank.

[Narrator]

Check.

[Tay Garnett]

You won't need any luggage anymore, brother. It's like Kane felt about Abel, I suppose. There he was, lying on the floor, looking as though it was me lying there. Only it wasn't. It was him. And I was glad. The funny thing about twins, being one yourself. You notice them more than most people would. And all the twins I'd ever known had got along good. Extra good. But not me and Walter. I hated him. Ever since I could remember. I hated him because the old man was about the only one who could tell us apart. And it was Walter. He always called to him, not me. I hated him for what he got and what I didn't. I hated him because he was always good and I was bad. I hated him because the old man left everything he had to him. And it wasn't hay either. Because I couldn't do anything about it on account of that forgery rap I'd taken. And I hated him for the way he. He'd taken care of me since I got out of jail. And thrown at my face every chance he got. I hated him for all those things and a lot more. And I was dead. And I killed him. And I was glad. You don't believe me, brother? I felt great. I went over to the mirror and comb my hair over to the left side like his. And I locked the study door and went upstairs to the bathroom and shaved off my mustache. He was clean shaven. Went back in the bedroom and put on one of his suits. And when I got through and stood in front of the big full length bedroom mirror, I looked this fitting image of him. No one in the world could have told that I wasn't Walter Parcel. In fact, I was Walter Potel. Well, I went back to the study. All I had to do now was dispose of the evidence. But first I. I couldn't resist looking around. It was mine now. All mine. Those stupid fish he had all over the place in glass tanks. The books he never read and all the rest of it. In his desk was a list of all the bonds and securities and the number of his safe deposit boxes and the combination to the safe and the bank book, all nice and neat. On the desk was a picture of Helen Winters, the little Vexin he was engaged to, And I made a mental note that I'd at least have to call her before I left town. It looked funny. If I didn't, I might even do more than call her. Well, there's no use stalling any longer. It had to be done. I got the body over my shoulder and carried it upstairs and put it in the bathtub. I locked the bathroom door from the inside. Then I got to work.

[Narrator]

For suspense, Roma Wines are bringing you a star Joseph Cotton in the Pasteboard Box by Joe Grenzebach Roma Wines presentation tonight in radio's outstanding theater of thrills. Suspense between the acts of suspense. This is Truman Bradley for Roma Wines. Here's a simple secret about entertaining that has won compliments for many a hostess. The next time you have dinner guests, keep them pleasantly occupied during that hour before the meal by serving Roma California Sherry. Serving Roma Sherry before dinner has become a friendly American custom. Yes, glorious golden amber Roma Sherry with tempting fragrance and intriguing nut like taste is the perfect first call for dinner. And you'll find Roma Sherry equally pleasing with a tasty evening snack. A delightful wine to serve anytime. Roma Sherry, like all Roma wine, is a true natural wine, crushed from choicest grapes grown in California's finest vineyards, then unhurriedly guided to taste perfection by Roma's ancient winemaking skill. Bottle at the winery for unvarying goodness. Delight your family, your guests, with delicious Roma Sherry now selling at the lowest prices in years. Insist on Roma R O M A for uniformly high quality at low cost. Remember, more Americans enjoy Roma than any other wine. And now, Roma Wines bring back to our Hollywood soundstage Joseph Cotton as star of the Pasteboard Box, a play well calculated to keep you in suspense.

[Tay Garnett]

It was early morning before I was.

[Narrator]

Able to leave the house.

[Tay Garnett]

I walked to the nearest subway with a suitcase, a heavy suitcase because it was also weighted down inside with old furnace grates and sash weights. I got off the subway at Dyckman street and took the Dyckman street ferry to Jersey. About halfway across, the suitcase that I had on the rail, as though it was something to lean on, just sort of slipped out of my hands into the river. I looked mad and then foolish, and the people that saw I snuck it behind their hands. Well, how was that? About an hour later, the same thing happened on a 42nd street ferry, and the mortal remains of Walter Parcel were Gone. All but his head. At first I had known what to do with that head. It wouldn't fit into either of the suitcases no matter what I did. And then I thought of that box, that big pasteboard box that the goldfish bowl had come in. It was still sitting there in the corner of the desk. I waited it and wrapped up the outside in the paper it had come in and started out again. The 14th Street Ferry. This time I had it balanced up there on the rail just like I'd had the others. And then. Hey. Hey, look out. Hey. Oh, it's all right, mister. I got it. I let go.

[Kay Kerrigan]

Oh, I've got it.

[Gene Flannery]

What?

[Frederick March]

What's the matter?

[Tay Garnett]

Oh, I. I thought you dropped it. Oh, no.

[Narrator]

Here it is. Hey, that was close, all right. Another second and it would have been gone for good.

[Tay Garnett]

Yeah, they've been gone for good, all right. Walking across 14th street on the way back from the ferry, people were pushing behind me. And the next thing I knew, I was in a department store. Was walking down one of the aisles just to keep moving and not to attract attention when it hit me, right between the eyes, there was another box. A box just like mine sitting up there on one of the counters. Next to it was an old guy looking at some bow ties. I walked over and put my box on the counter next to his. And I pretended I was waiting for a clerk. Then after a couple of minutes, I pretended to change my mind. I picked up the box, his box, of course, and started for the door. Hey.

[Narrator]

I say that. I say, sir, you've taken my box.

[Tay Garnett]

Oh, what do you mean, your box? Let go of me. But it is.

[Narrator]

It's my box. You left yours there on the counter.

[Tay Garnett]

Are you crazy? Let go, I tell you. What's the trouble here?

[Narrator]

Why, this man's got my package and won't give it back. Oh, shoplifter, eh? No, no, no, it's not that. He left a package of his own there, but he insists that mine is his. What's in it? Parchment lampshade. I bought it in your furniture department just now. The girl will confirmed that all right. What's in yours?

[Tay Garnett]

Mine? Yes. What's in your box? Why?

[Frederick March]

Well, it's.

[Narrator]

Well, we'll open it up and see.

[Tay Garnett]

No, no, no, you can't.

[Narrator]

Only way to tell. Open them both up.

[Tay Garnett]

You think this is your package? No, wait. I made a mistake. It isn't here. Now give me mine.

[Narrator]

Just a minute.

[Tay Garnett]

Give it to me. Just a minute. Give it to me. Oh, give it to him.

[Narrator]

It's His. I saw him put it there.

[Tay Garnett]

Very well, thank you.

[Narrator]

My, he acted like a magnet.

[Tay Garnett]

Maybe I did act like a madman. I guess I did, because I was pretty close to panic when I got out of that store. I started walking. I just walked. I don't know how or for how long or what, but all I could think of was, what'll I do now? What'll I do with it?

[Frederick March]

What do I do with it?

[Tay Garnett]

I didn't snap out of it until I found myself a half block from home. And not knowing how I got there. All I knew was I still had that box and I had to get rid of it. Then I saw the sewer. A corner sewer with a big, wide opening. I crossed over to it as though I was going to step on the curve. Stumbled and gave it a good kick. Slid in and I heard it fall. I got home a half hour later. I was just beginning to relax and the doorbell rang. I went out in the hall, switched on the vestibule lights and opened the door. There stood a couple of kids.

[Gene Flannery]

Yes. This is yours, ain't it, mister?

[Tay Garnett]

What?

[Gene Flannery]

We were standing across the street when you dropped us. Then we saw you come into this house. That's how we know we got some string in a fish hook and pulled it out. It is yours, ain't it?

[Tay Garnett]

No.

[Gene Flannery]

You mean it ain't yours?

[Frederick March]

No.

[Tay Garnett]

I never saw it before in my life and I beat it.

[Gene Flannery]

Oh, then we can open it, huh, Johnny?

[Tay Garnett]

Oh, wait.

[Narrator]

No.

[Gene Flannery]

I don't know. Maybe we ought to take it to the car.

[Tay Garnett]

Yeah. You give that to me. Give it to me. But you said I made a mistake. I didn't recognize it. I Give it to me. Beat it.

[Gene Flannery]

Well, aren't you glad to get us back, huh?

[Tay Garnett]

Oh, sure. Here.

[Gene Flannery]

Five bucks. It must be diamonds in that.

[Tay Garnett]

It was bank. The kids were hardly down there. Just before, I was out the house without a hat, a coat or anything, running towards Second Avenue. I didn't care who said saw me now. Didn't dare stop for a taxi. I had to keep running. I couldn't stop for a second. I kept on running up 2nd Avenue to 59th Street. Going out onto the bridge. I was still running. I didn't stop it until I got nearly to the middle. And then? Then I threw it out over the railing as far as I could. I watched it arc down and saw the pipe splash in the darkness as it hit the water. A couple of hundred feet was gone. No matter what, it was gone. Somehow I got home. But it was daylight before I could.

[Narrator]

Get myself to sleep.

[Tay Garnett]

Monday morning, I felt better. Got up fairly early and went down to study, make my plans. Seeing the picture of Helen windows on the disc reminded me I ought to call her. If Walter left town without even calling, the girl he was supposed to marry would look so good. There was no answer, so I hung up. Then I rang for Williams, the houseman. Yes, sir. Oh. Oh, Williams, I'm. I'm sorry to tell you this, but I'm. I'm going to have to let you go. Well, I'm sorry to hear it, sir. It's. Anything I've done, Quite the contrary. I've found our association most pleasant. But the death of my brother has been quite a shock. Of course. Of course I'm going away. I don't know how long I shall be gone or when I shall be back or if I shall come back here at all. So I thought it was best this way. Yes, sir. When will you be leaving, sir? Within a few days. There's no hurry. But I wanted you to be able to make your own plans. I'm making arrangements this afternoon to sell the house and the furniture and the associations here are painful, you understand? I understand, sir. My brother Jack had his faults, of course. We. We all do.

[Narrator]

I know how you feel, sir.

[Tay Garnett]

After all, Williams, he was my brother. Yes.

[Narrator]

Blood is thicker than water. You're so right, Williams.

[Tay Garnett]

At first performance left me feeling pretty satisfied. The next one wasn't so easy. But for things to look right, it had to be done. So after breakfast, I went down to police headquarters.

[Narrator]

Well, what can we do for you, Mr. Parcel?

[Tay Garnett]

I'm going away for a while, and I wondered if you had recovered my poor brother's.

[Narrator]

His body?

[Tay Garnett]

Yes.

[Narrator]

No, I'm sorry, we haven't, Mr. Parcel. While you're here, though, there is something you might look at for us. This way, please. It's just a routine matter of identification, but we like to have these things on the record.

[Tay Garnett]

Something you found?

[Narrator]

That's right. Fished it out of the east river this morning.

[Tay Garnett]

The East River? That's right. The East River. For a minute, I just stopped breathing. Because it wasn't at the east river that I jumped off the ferry. That was on the other side of the island. The east river was where I thrown it. And then I was all right again because I saw what he had. A pair of trousers. Mine.

[Narrator]

You recognize these, Mr. Parcel?

[Tay Garnett]

Oh, yes. Those were the trousers my. My brother wore the night he died.

[Narrator]

Probably kicked him off and tried to swim to shore. Well, thanks, Mr. Parcel. That's all we need.

[Tay Garnett]

Very well. But you said the east river, and it was the north river, where poor Jack.

[Narrator]

Oh, carried down by the current and around by the tide. Caught in the propeller of a ship.

[Tay Garnett]

Maybe.

[Narrator]

Funny things happen in the waters around this island, Mr. Parcell.

[Tay Garnett]

Yes. Yes, I imagine they do. So that was all right too. When I got out of headquarters, I went across the street to a pay station and phoned Helen Winters. There was no answer. I hung up. Then I went uptown to the bank. Walters Bank. I'd never been in it before in my life, and I'd been wondering how I'd know who to be chummy to. But I needn't have worried about that.

[Narrator]

Well, good morning, Mr. Parcel.

[Tay Garnett]

Good morning. We were all terribly sorry to hear.

[Narrator]

Of your bereavement, Ms. Parcel.

[Tay Garnett]

Yes, thank you. As a matter of fact, that's what brings me here. I see.

[Narrator]

Something about the state?

[Tay Garnett]

Oh, no, no, no. But I shall want to get into my favorite house at dark.

[Narrator]

Why, certainly, Mr. Parsons.

[Tay Garnett]

Thank you. Oh, by the way, do you happen to know what my cash balance is? Just. Just roughly. Roughly.

[Narrator]

Between 32 and 33,000.

[Tay Garnett]

I want 5,000 in cash. I'll make out a counter check. You can forward the rest when I've made banking connections in Mexico.

[Narrator]

Oh, Mexico. What do you expect to be in Mexico for any length of time?

[Tay Garnett]

Oh, yes, for quite a length of time.

[Narrator]

Shall we go down to the vault, sir?

[Tay Garnett]

Yes, by all means. When I got out of the bank, it was raining, but I didn't care. I liked it. I was walking on air anyway. And I decided to walk home that way. It's nearly 30 blocks and I was soaking wet when I got there. But what's a little ray into a guy with $100,000 in his pocket? The front door wasn't locked in. I went and I hung up my hat and coat in the hall and was wondering whether to have a nice hot bath before calling Helen Winters. And when I saw a box, that horrible pasteboard box. It had come back. For a second, I thought my mind had gone. But there it was, sitting on the desk, wet and soggy and the limp paper peeling off it as though it had been fished out of the river just that minute. And then I remembered I. I hadn't seen it sink and what the cop had said about tides and currents. Then the doorbell rang. I rushed to the window. There was a police car outside. For the moment, I thought of grabbing up the box and running, escaping out of the back somehow. And then I knew that wasn't any use. Didn't matter. It was something of a police plan. It didn't matter anyway. And if it wasn't. If it was just another one of those terrible coincidences. There was still time. Whatever they wanted, I could bluff it through and there'd still be time. I pulled myself together and went out and opened the door. Yes?

[Narrator]

We're from headquarters.

[Tay Garnett]

That you're Walter Parcell. Walter Parcell. They thought I was Walter Parcell. They didn't even know he was dead. That was all right. There was still time. I said. Are you Walter Parcel? Yes. I'm Walter Parcell.

[Narrator]

You know a young woman named Helen Winters?

[Tay Garnett]

Helen Winters? Of course. She's my fiance. And I'm afraid you're going to have.

[Narrator]

To come along with us, Mr. Parcell.

[Tay Garnett]

With you? Why? Helen Winters has been murdered. And I might as well tell you.

[Narrator]

Now that anything you say will be used against you.

[Tay Garnett]

The evidence is pretty conclusive that. That I. That you murdered her. I didn't. I couldn't.

[Narrator]

We found her this morning. The commenter reports she was killed Friday night. You were seen entering the place that night. You were seen leaving. A gun that we traced to you was found in an ash can a block away. Now, what do you expect us to believe, Mr. Parcel?

[Tay Garnett]

Wait a minute. There's a mistake. There. There's been a terrible mistake. I. I'm not Walter Parcel. I'm his brother. I'm his brother Jack.

[Narrator]

The one who committed suicide.

[Tay Garnett]

Yes. Only I didn't. I changed my mind. I swam back to shore. I. I came back here and I found Walter. He was dead. He killed himself. And now I know why. Don't you see? Because he murdered the girl. You didn't report it. Where's the body? The body? Yes, yes, the body. The body. That's it. Now, look. Look. Everyone knew I quarrelled with Walton, so I thought they'd pin it on me. I thought they'd say I killed him. So I disposed of the body. Then I took his place. We are. We're twins. Don't you see?

[Narrator]

Mr. Parcel, I've been in this business a long time and I've had some beauties. But I never had a man ask.

[Tay Garnett]

Me to believe one like that. True. I swear it's true. All right, then. Where's the body? I threw it in the river. With the weight? I thought so. Come on. Now, wait a minute. Come on. Come on. I can prove it. I can prove it.

[Commissioner]

Yeah?

[Tay Garnett]

How?

[Narrator]

God.

[Tay Garnett]

Because I still got his head.

[Narrator]

His head?

[Tay Garnett]

That would prove it, wouldn't it? Or wouldn't it?

[Narrator]

It certainly would.

[Tay Garnett]

Come on, I'll show you. Here, in that box. See? I'd open it. Sure, sure. I threw it in the river and it got back here somehow. It's still wet.

[Narrator]

See?

[Tay Garnett]

That doesn't look like anybody's head to.

[Narrator]

Me, Mr. Fel it. To me it looks like just an ordinary goldfish ball.

[Tay Garnett]

That was it, of course. The goldfish bowl he'd been arguing about on the telephone. When I came back and found him packing up, running away because he'd murdered his girlfriend. So I don't know where Walter is now in those swirling tides and currents. But I know one thing. Wherever he is, he must be laughing his head off.

[Narrator]

Suspense presented by Roma Waynes R O M A Made in California for enjoyment throughout the world. Before we hear again from Joseph Cotton, the star of the faceboard box, tonight's suspense play, this is Truman Bradley for Roma Wines. Each day more Americans are switching to Roma and discovering what a wonderful help Roma wine is in making simple home entertainment successful. The reason? Taste. Superb taste for only pennies a glass. And says famous hostess Elsa Maxwell, there's a Roma California wine to delight everyone. Rich ruby red Roma port. Mellow nut like Roma sherry smooth golden Roma muscatel and flame bright Roma toque. I give my guests their choice and share with them Roma's goodness. Each of these fine Roma wines may be served with cake, fruit, nuts or other tasty snacks when guests drop in. Many prefer these wines with dessert. You'll find them delightful anytime. Get Roma wine tomorrow. You'll be amazed how little such taste luxury costs for Roma wine. Famed for uniformly fine quality is now selling at the lowest prices in years. Insist on Roma R O M A Roma wine made in California for enjoyment throughout the world.

[Tay Garnett]

This is Joseph Cotton. I've enjoyed my appearance on Suspense as I always do next Thursday. A unique actress whom all of us here in Hollywood love and admire as you do, will be the leading lady on suspense. Dame May Whitty. Miss Whitty will appear as a kindly lady whose advertisement requesting genteel part time employment involves her in a predicament which threatens first her freedom and then her very life. I'm sure we'll all want to make it a point to listen. Oh, and by the way, if you feel that but the character I played tonight was a little, shall we say, extreme, please forgive me. I've never played twins before. And I guess. Well, I guess I just lost my hand.

[Narrator]

Joseph Cotton appeared through the courtesy of David O. Selznick. In whose production Duel in the sun. He will soon be seen. Next Thursday, same time, Roma Wines will bring you Dame May Witty as star of Suspense Radio's Outstanding Theater of Thrills, produced by William Speer for the Roma Wine Company of Fresno, California.

[Host]

There's more from the Screen Director's Playhouse, Suspense, the Relic Radio show, and all of the other podcasts@ RelicRadio.com you can donate through the website as well. If you'd like to help support this and all of the shows, visit donate. Relicradio.com or click on one of the links on the website if you're interested in doing that. Thanks to those who have helped out. Thanks for joining me this week. I'll be back tomorrow with an hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio Show.