The Zero Hour and Suspense

Summary

Podcast Summary: The Zero Hour and Suspense
The Relic Radio Show
Release Date: June 3, 2025

The Relic Radio Show takes listeners on a nostalgic journey through radio's golden age, unearthing classic audio dramas that have stood the test of time. In the June 3, 2025 episode titled "The Zero Hour and Suspense," RelicRadio.com presents two gripping stories: "The House that Clement Built" from The Zero Hour (June 24, 1974) and "The Perfectionist" from Suspense (January 21, 1952). This summary delves into the key points, discussions, insights, and conclusions of both episodes, highlighting notable moments and quotes to provide a comprehensive overview for new listeners.

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Section 1: The Zero Hour – "The House that Clement Built"

Overview:
"The House that Clement Built" is a compelling radio drama that intertwines elements of mystery, suspense, and psychological intrigue. Set against the backdrop of Paris's fashion world, the story revolves around Inspector Foucher's investigation into the disappearance of Henri Clement, a renowned fashion designer.

Plot Summary:
Inspector Emil Foucher arrives in Paris to write an article on Henri Clement for Designer's Daily. Upon his arrival at Clement's residence, he encounters Libby Mann, a dedicated associate who claims to be conducting a similar investigation. Their initial interaction is fraught with tension, leading to suspicions of a potential kidnapping.

As the narrative unfolds, Inspector Foucher and Libby delve deeper into Clement's life, uncovering hidden secrets and motives. The story crescendos with the revelation of Clement's untimely death and Libby's desperate attempts to conceal her involvement. The drama masterfully balances character development with plot twists, keeping listeners engaged until the dramatic resolution.

Notable Quotes:

• Inspector Foucher (00:46): "You are a fine woman, Mademoiselle."
  Highlighting his initial respect and authority.

• Libby Mann (06:21): "I have been studying the police methods of your country."
  Establishing her expertise and possible ulterior motives.

• Libby Mann (20:00): "Stay a while."
  An enigmatic invitation that deepens the mystery.

• Shelley Berman as Libby Mann (50:22): "Please stop. I didn't mean it, Bill."
  A pivotal moment of vulnerability and confession.

Key Themes and Insights:

• Psychological Manipulation: Libby Mann's intricate manipulation showcases the depth of human psychology, highlighting how desperation can drive individuals to drastic measures.

• Trust and Deception: The dynamic between Inspector Foucher and Libby Mann underscores the complexities of trust, especially when concealed motives are at play.

• Legacy and Ambition: The story explores the lengths one might go to preserve or challenge a legacy, embodied by Libby's actions against Clement's established reputation.

Conclusion:
"The House that Clement Built" offers a rich narrative that captivates listeners with its intricate plot and multifaceted characters. Through Inspector Foucher and Libby Mann, the drama delves into themes of ambition, deception, and redemption, providing a timeless tale that resonates with audiences even decades after its original broadcast.

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Section 2: Suspense – "The Perfectionist"

Overview:
"The Perfectionist" is a quintessential episode from Suspense, renowned for its intricate plotting and psychological depth. Starring Richard Basehart as Bill Granic, the story delves into the mind of a man obsessed with executing the perfect crime.

Plot Summary:
Bill Granic meticulously plans the murder of William Grannock, aiming to make it appear as a flawless crime. Utilizing his expertise in trunk design, Granic devises a method to transport and conceal Grannock's body with precision. However, his obsession with perfection leads to unforeseen complications.

As Granic interacts with Carl Brandon (Libby Mann), a fellow engineer recovering from an accident, the tension escalates. Granic's inability to balance his meticulous nature with the emotional gravity of murder culminates in a confrontation where his plans unravel. The narrative expertly weaves themes of perfectionism, control, and the fragility of human emotions, culminating in a dramatic and introspective climax.

Notable Quotes:

• Libby Mann (26:28): "It's my heart."
  Expressing vulnerability amidst the unfolding chaos.

• Paul Bouchard (28:45): "Why not me first, Karl? You afraid of me?" (Note: There appears to be a name discrepancy; likely referring to Carl Brandon.)
  Confronting fear and shifting blame.

• Libby Mann (47:40): "I did it. I did it, didn't I?"
  A moment of confession and realization.

• Paul Bouchard (50:21): "You're afraid of a cripple, not my husband."
  Challenging preconceived notions and asserting identity.

Key Themes and Insights:

• Obsession with Perfection: Granic's relentless pursuit of a flawless crime showcases the detrimental effects of perfectionism, illustrating how it can overshadow morality and rationality.

• Identity and Perception: The story examines how individuals perceive themselves versus how they are perceived by others, especially concerning disability and capability.

• Control and Chaos: Granic's need to control every aspect of the crime contrasts sharply with the unpredictable nature of human emotions and reactions, leading to his eventual downfall.

Conclusion:
"The Perfectionist" stands out as a masterful exploration of human psychology and the consequences of obsessive behavior. Through Bill Granic's character, the drama delves into the complexities of identity, control, and the inherent imperfections that define humanity. Richard Basehart's compelling performance adds depth and nuance, making this episode a timeless piece that continues to resonate with audiences.

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Final Thoughts

The Relic Radio Show successfully transports modern listeners back to an era where storytelling thrived through radio waves. By presenting "The House that Clement Built" and "The Perfectionist," the podcast not only preserves these classic narratives but also offers insightful glimpses into the thematic richness of old-time radio dramas. Both stories, rich in suspense and psychological complexity, underscore the enduring appeal of well-crafted audio storytelling.

Listeners new to these episodes will find themselves immersed in meticulously woven plots that explore the darker facets of human nature, all while appreciating the artistry and creativity that characterized radio’s golden age. The Relic Radio Show continues to honor and celebrate these timeless tales, ensuring that the legacy of classic radio dramas remains vibrant and accessible.

Transcript

[Host of Relic Radio Show]

This is the Relic Radio Show. Old time Radio entertainment Still standing the test of time from relicradio.com welcome back to the Relic Radio Show. 60 minutes of radio drama every Tuesday at rolicradio.com Our first story comes from the zero hour. This week will hear the house that clement built from June 24, 1974. After that it's suspense and their story from January 21, 1952 titled the Perfectionist.

[Rod Serling]

I'm Rod Serling. You're listening to the Zero Hour. Rest your eyes, exercise your imagination.

[Shelley Berman]

Today.

[Rod Serling]

Keith Walker's hilarious tale of death by error. The House that Kumo built starring Shelley.

[Shelley Berman]

Berman.

[Rod Serling]

In the Mutual Broadcasting System presentation.

[Inspector Foucher]

Of.

[Rod Serling]

The Zero Hour brought to you by the Ford Motor Company and La Z Boy recliners. This is the Zero Hour on Mutual Radio. Hello, this is Hugh Downs with a Ford car buyers report on a subject that car buyers are giving serious thought to. The real cost of owning a car which Ford feels involves three considerations. What you pay for it, how much it costs to operate and trade in that. What about purchase price? Well, Ford believes that the 74 Ltd offers car buyers who need and want the six passenger comfort and quiet ride of a full size car. A real alternative to a big full size car. The Ford LTD. Up to 400 pounds lighter than some medium priced full size cars. The LTD is also sticker priced up to $900 less. And you'll be pleasantly surprised at the luxury and driving peace of mind that the LTD offers. The 1974 LT is the best selling car in its price class. Evidence that for many people it's the best solution to owning a full size car. The well made Ford. The closer you look, the better we look. The world of fashion is where you'll live for the next half an hour. It's a strange world filled with strange people. None the least of which is our old friend, Inspector Fouche. Join us now as the inspector leads us a merry but bumbling chase through this world of skinny models and fat designers.

[Inspector Foucher]

This way, Mamzel. It's very kind of you. I am pleased that I can. I also could not stand the cigar smoke. Voila. 27A. Please, please. I do not think this funny little man will you dis there. He certainly seems to be enjoying his dream look. That mischievous smile. O, he is strange. Caminotti sat down, he went to sleep. I think his mustache is adorable, don't you? Very fresh. Oh, please wait me for the approach to Orly Read. Baby, Mom's a man. You just needed time, huh?

[Shelley Berman]

Oh, oh.

[Inspector Foucher]

Thanks, Mimi. I feel marvelous. Oh, my heavens, he's still at it. Should we wake him? I think yes, but why don't you and I will bring some cafe. What's his name? Monsieur Foucher.

[Shelley Berman]

Inspector Foucher. And you are under arrest in the name of the French Republic.

[Inspector Foucher]

That's incredible. And look, he's still asleep. We are very nationalist, sir. Wake up, Inspector. Cliche. We're almost to Paris.

[Shelley Berman]

You will come with me. We know what to do with you.

[Inspector Foucher]

Inspector, are you all right?

[Shelley Berman]

Oh, excuse me. Must have been dreaming. Are you a dream?

[Inspector Foucher]

I don't think so.

[Shelley Berman]

But of course you are. Here, let these sad but wise eyes gaze.

[Inspector Foucher]

Inspector, are you okay?

[Rod Serling]

Yes.

[Shelley Berman]

I don't understand why these seats pop up like that.

[Inspector Foucher]

Voila. You have made the uncle dance, huh? Yes. The inspector thinks I'm a dream.

[Rod Serling]

Inspector?

[Shelley Berman]

Emil Foucher of the Soet.

[Inspector Foucher]

A chat arm?

[Shelley Berman]

Oui, but an elegant one.

[Inspector Foucher]

Oh, Libby, watch out. When a Frenchman's mustache twitches like that, it means he has a scent.

[Shelley Berman]

May we have our coffee?

[Inspector Foucher]

Do we, Libby? Enjoy your stay, Empari. Thank you.

[Shelley Berman]

Is your stay for a holiday?

[Inspector Foucher]

No, I've come to write an article on Henri Clement.

[Shelley Berman]

Oh, yes, the great designer. Oh, yes. He is a famous man. You are with a magazine? Yes.

[Inspector Foucher]

Designer's Daily. And you are with police?

[Shelley Berman]

Oui. You. You see that man across the aisle?

[Inspector Foucher]

Yes. Is he wanted?

[Shelley Berman]

No, no, no. I just thought you might like to see me arrest.

[Inspector Foucher]

Inspector, you are pulling my leg.

[Shelley Berman]

Yes, but that is another matter. No, no. For the truth, I must tell you I have been in exile.

[Inspector Foucher]

Really?

[Shelley Berman]

Yes. I have been studying the police methods of your country.

[Inspector Foucher]

Where? New York?

[Shelley Berman]

No. Fitzwilliam.

[Inspector Foucher]

Fitzwilliam. Where is that?

[Rod Serling]

New Hampshire.

[Inspector Foucher]

Oh. Is it a large city?

[Shelley Berman]

1362 people. I confess it was a punishment.

[Inspector Foucher]

Oh, I'm sorry. Did you have to stay long?

[Shelley Berman]

Two years. But I solved a major murder case and they have let me return to this recipe.

[Inspector Foucher]

That's wonderful.

[Shelley Berman]

I will be happy to never look another purple finch in the eye again.

[Inspector Foucher]

A purple finch? Is that a bird?

[Shelley Berman]

Oh, yes, It's a state bird of New Hampshire. Ruined my pursuit.

[Inspector Foucher]

Oh. We'd better fasten our seat belts. Inspector.

[Rod Serling]

Oh, yes.

[Shelley Berman]

Do you perhaps need a ride from the airport?

[Inspector Foucher]

That would be nice. Inspector, you fastened your seatbelt to mine. Let's see. Number 10. Ruth. And. That's odd. I know. I was expected. Maybe it's the wrong address. No, it's number 10. Hey, who? Hello? Hello? Anybody home? Talk about spooky. Hello. I'll try the drawing room. Oh, my. Well, There you are, Mr. Claymont. Forgive me for busting in like this, but the front door. Mr. Clement, sir. Are you all right, sir? You don't look at all well. Oh.

[Rod Serling]

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[Libby Mann]

Hurry up.

[Rod Serling]

He's waiting.

[Shelley Berman]

Run.

[Rod Serling]

Down there.

[Shelley Berman]

Go. Yes, indeed.

[Rod Serling]

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[Shelley Berman]

Wake up, mademoiselle.

[Inspector Foucher]

What?

[Shelley Berman]

Oh.

[Inspector Foucher]

Who are you?

[Shelley Berman]

I think you had better explain who you are before the police arrive.

[Inspector Foucher]

Police?

[Shelley Berman]

That's right. Monsieur Clement has been kidnapped.

[Inspector Foucher]

But he couldn't. I just saw him a few minutes ago. What time is it?

[Shelley Berman]

Two in the morning. I must insist. Who are you?

[Inspector Foucher]

My. My name is Libby Mann. I've come at the request of Mr. Clement to do a magazine article. Now, who are you and what is this about kidnaps?

[Shelley Berman]

I am Paul Boucher. I am an associate of Monsieur Clement. He did not tell me your coming. Oh. The police. The pardon. Hello, Inspector Fou.

[Paul Bouchard]

Ah.

[Shelley Berman]

This way, Inspector F. Oh. Is this where you found the note, Inspector? Ah. M Man. How are you?

[Inspector Foucher]

Event but the same.

[Shelley Berman]

You know this woman, Inspector? And who are you? The butler?

[Inspector Foucher]

No.

[Shelley Berman]

Monsieur Clement Boucher. Yes, of course.

[Inspector Foucher]

He said kidnap, Inspector. Did he tell you?

[Shelley Berman]

Here is the notelev. It doesn't eggs to chickens. Oh, sorry. Sorry.

[Rod Serling]

Here you.

[Shelley Berman]

Yes. Please do not do that again. It is obstructing justice. May I sit down? But of course. Is this your hat I sat on? No, I believe it is. Oh, yes, of course. When did you receive this? It was on the desk when I arrived. Ms. Mann was on the floor. You're sure it wasn't the other way around?

[Rod Serling]

What?

[Shelley Berman]

Just seeing if you are on your toes.

[Inspector Foucher]

Inspector. May I speak with you a minute?

[Shelley Berman]

Of course.

[Inspector Foucher]

Outside.

[Shelley Berman]

Monsieur Bouchard, please wait in the hall.

[Libby Mann]

What?

[Inspector Foucher]

What is it, Inspector? When I came in, the door was ajar. I came on in And I found Mr. Clement sitting at his desk.

[Shelley Berman]

Yes?

[Inspector Foucher]

I think he was dead.

[Rod Serling]

That cannot be.

[Shelley Berman]

Why would anyone want to kidnap a dead man?

[Inspector Foucher]

I don't know, but I swear it's the truth.

[Shelley Berman]

I see. Monsieur Beau. Monsieur. I am taking the note now. I would advise you not to pay the ransom. But the Inspector. We matched. The full collection is soon due and Monsieur Clement must be. I insist. I insist. But we must. I see. Have you received instructions as to what to do with the money? Not yet. But the note does say they will contact us. All right. I will post a guard on the house. Tap the telephone just in case. That is good thinking, Inspector. Thank you, Mademoiselle. Have you a place to stay? No.

[Inspector Foucher]

Monsieur Clement had invited me to stay here while in Paris.

[Shelley Berman]

Then by all means you must stay.

[Inspector Foucher]

Oh, I could.

[Shelley Berman]

I insist. He insists.

[Inspector Foucher]

If you insist.

[Shelley Berman]

I insist.

[Rod Serling]

He insists.

[Inspector Foucher]

All right, I get the point. I'll stay.

[Shelley Berman]

Good. I will be around tomorrow and Bourgeois. Do not leave Paris. I can't. Why not? I live here. Oh, yes. Good night. I will keep my eye on the house. Is certainly right about that.

[Inspector Foucher]

Why, Mr. Bouchard, you?

[Shelley Berman]

Because he's in the closet.

[Rod Serling]

Good night again.

[Shelley Berman]

Is he always like that?

[Inspector Foucher]

I've only known him a short while, but I think so.

[Shelley Berman]

I think so too.

[Rod Serling]

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[Paul Bouchard]

I didn't know that.

[Rod Serling]

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[Paul Bouchard]

I didn't know that either.

[Rod Serling]

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[Inspector Foucher]

What? Who's there? Oh, Libby, old girl. This mystery is getting to you. What's that? It's terrible. Sounds like someone in pain. Hello?

[Libby Mann]

Mr. Bouchard?

[Inspector Foucher]

Sounds like it's coming from the attic.

[Shelley Berman]

Mr. Bouchard, please. I did not mean it. Say, you're almost any good.

[Jim Backus]

Mr. Bouchard?

[Inspector Foucher]

Are you up here? New Hoo. Weird. I don't understand that. These stairs don't lead any place.

[Shelley Berman]

Look, you can't leave me.

[Libby Mann]

What?

[Shelley Berman]

What will I do? No one knows the business like you.

[Inspector Foucher]

That's Bouchard. Now who's he talking to?

[Shelley Berman]

What are you doing? Spying on me?

[Inspector Foucher]

Sorry, I just happened to fall in.

[Shelley Berman]

Well, didn't you? She heard everything. Jacques, tell me what to do.

[Inspector Foucher]

Mr. Bouchard, who are you talking. Mr. Clement.

[Shelley Berman]

Stay away from him.

[Inspector Foucher]

Easy, Bouchard, easy. Put that chair down. I'm not going to hurt you.

[Shelley Berman]

My dear Jacques.

[Inspector Foucher]

It doesn't look as if anything would.

[Shelley Berman]

Hurt.

[Inspector Foucher]

Don'T do that. I can't stand to see a grown man cry.

[Shelley Berman]

Dead. I know it is dead. Mademoiselle Mar.

[Inspector Foucher]

That's the first truthful thing you said tonight. How did he die?

[Shelley Berman]

I did it. I did it, didn't I? Joke. Hello there.

[Inspector Foucher]

There now. Tell mama man all about this.

[Shelley Berman]

Thank you, Mercy. I did for me too. I am so upset.

[Inspector Foucher]

Yes, I can see that. Now tell me, how did Mr. Clement die?

[Shelley Berman]

I mean, pass on terrible argument. It was because of your visit.

[Inspector Foucher]

My visit?

[Shelley Berman]

Yes. He told me that Mademoiselle man will come to do that story on the heart of Clement. That is final, Paul. But it is time we shared our secret. I am tired of always being your junior. As you will do as I say. The world has come to respect the name of Clement and his design. But they are medicines. I am bel sealed. I am the brain that makes these halls. The money fool you steal. They are mine. Mine. The designs are mine. Ah, you are fool to tell the world. Good error. Their confidence. Folks, you speak of confidence. It was you who said, Paul, come with me. We will build the greatest fashion reputation together. And we have. Then I want what is due me. I wish you to tell this fashion writer who is responsible.

[Rod Serling]

I will not.

[Jim Backus]

You cannot speak to the great clerk.

[Shelley Berman]

My heart, Paul.

[Rod Serling]

My peace.

[Shelley Berman]

I will not fall for that ruse again. Oh, no, no, no.

[Libby Mann]

Here.

[Paul Bouchard]

It's my heart.

[Shelley Berman]

Paul. Paul.

[Inspector Foucher]

Jacques.

[Shelley Berman]

It is real. Jacques. No, don't die. I am sorry. Forgive me. No, Jacques, you cannot die. Look at me like this. Oh, please, Jacques. I would not know what to do without you. Jacques. Jean.

[Inspector Foucher]

Then it was you who hit me on the head? Oui.

[Shelley Berman]

Forgive me a panic.

[Inspector Foucher]

Why did you hide him? And why the kidnap note?

[Shelley Berman]

Because I could not bear to part with him. Besides, all these years everything has been in Jacques name. I would not get a prank. Here's a terrible son who will destroy the house that Clement built. I thought if I sent a ransom note, they would pay me what is rightfully mine. Then I would let Jacques be found in the house.

[Inspector Foucher]

But you must tell the police. It is the only moral thing to do.

[Shelley Berman]

You truly believe this?

[Inspector Foucher]

I do. But I promise you this. I will write an article for the house of Clement that will preserve the good name of Clement and still give you your just rewards.

[Shelley Berman]

You are a fine woman, Mademoiselle. Men for an American.

[Inspector Foucher]

Well, we try. Monsieur Bouchard. Are you ready?

[Shelley Berman]

You mean now? Tonight?

[Inspector Foucher]

The sooner we do it, the sooner Jacques Clement can go to his final rest.

[Shelley Berman]

You are right.

[Inspector Foucher]

But it's better. Why are you bringing me here?

[Shelley Berman]

You will see, mon cheri.

[Inspector Foucher]

The house of Clement and Bouchard is proud to present this next election for the new four season. Oh, Inspector, how wonderful.

[Shelley Berman]

And we have used to say. Mademoiselle Libby here. Let us go into the office.

[Inspector Foucher]

But how did this happen?

[Shelley Berman]

Inspector. After you. Inspector. Out here. Sorry, but I was not looking. Inspector, you are always the same. Tell Libby what happened. Clemence will left everything to Monsieur Bouchard.

[Inspector Foucher]

That's wonderful.

[Shelley Berman]

His doctor said that he knew about his art months before we argued.

[Inspector Foucher]

Then you mustn't blame yourself.

[Shelley Berman]

Thank you. I feel that it's not inevitable, but I owe you a great deal. Would you and the young spectre toast with the wear? Open the champagne. It is my specialty. Oh, my eye. Inspector Foucher, your aim is for me. Double.

[Inspector Foucher]

I want to sinus medicine.

[Shelley Berman]

Headache tablets? No.

[Inspector Foucher]

Sinus medicine helps the headache and the pressure.

[Rod Serling]

Oh, you mean sign off.

[Inspector Foucher]

Exactly.

[Rod Serling]

Exactly. Right. When sinus flares up with congestion and pain, insist on sign off tablets. Sign off delivers a full dose of pure aspirin plus a sinus drainer. Sign off helps sinus pain while you drain. Use only as directed.

[Inspector Foucher]

S I N E O F F. Exactly.

[Rod Serling]

Sign off the sinus medicines in the bright red box. Hi, I'm Jim Backus with news about an exciting sale taking place at your La Z Boy dealers today. You may now put a famous La Z Boy reclining chair into your living room at Unbelievable Savings. The ultimate in beauty and comfort can be yours in the style of your choice to match your favorite decor. Don't just sit, relax and recline sumptuously in a La Z Boy. Your choice of quality colors and fabrics. See your La Z Boy dealer today.

[Shelley Berman]

Do that.

[Libby Mann]

Hey, hurry up.

[Rod Serling]

He's waiting. Yes, he is. I'm Rod Serling. Close your eyes, exercise your imagination and join us again on our next presentation of the Zero Hour.

[Shelley Berman]

The House that Clement Built is an.

[Rod Serling]

Original radio drama written by Keith Walker. Shelly Berman was heard as Paul Burchard. Featured in the cast were Peggy Walton, Luke Krugman, Ben Wright and Maggie Malooly. Zero hour, created by J.M. collis, directed by Don Hills, is produced in Hollywood for the Mutual Broadcasting System by Radio Productions Incorporated. Music is composed and conducted by Stanley D. Hoffman.

[Shelley Berman]

Rochelle Sherman, Associate producer.

[Rod Serling]

This is a presentation of the Mutual Broadcasting System.

[Jim Backus]

AutoLight and its 96,000 dealers. Bring you the brilliant young motion picture star, Mr. Richard Basehart, in tonight's presentation of South Spence.

[Richard Basehart]

Tonight. Tonight, Autolyte presents the story Of a man who found it necessary to commit the perfect crime. A tale we call the Perfectionist. Starring Mr. Richard Basehart.

[Libby Mann]

Hip hip Hooray.

[Jim Backus]

Hip hip hooray.

[Libby Mann]

Harlow.

[Jim Backus]

Why the cheers for the team, Hap? What team, Harlow?

[Libby Mann]

Why?

[Jim Backus]

The team under your car's hood. The Autolite electrical system. The family team of precision made units, including the generator, battery coil, distributor, starting motor and all the other important parts of the complete Autolight electrical system. Used as original factory equipment on many leading makes of our finest cars, trucks and tractors. Does this team play full time, Harlow? It works full time, Hap. Every time you press the starting switch, every second your engine is running. And whenever you use your horn, lights or radio.

[Libby Mann]

That Autolight electrical system is a real winner.

[Jim Backus]

You bet, Hap. With all units related by Autolite engineering, design and manufacturing skill to give you the smoothest performance money can buy. So, friends, when your Auto Light equipped car needs replacement parts, take a tip from me and insist on Autolite original factory parts. And remember, from bumper to tail light, you're always right with Auto Light.

[Richard Basehart]

And now with the Perfectionist and the performance of Mr. Richard Basehart. Autolyte hopes once again to keep you in suspense.

[Libby Mann]

There it's all written. I couldn't confiscate verbally to these police as stupid men. Men who discovered nothing about the murder through their own efforts. It was a mishap. A blunder which revealed me. I know I killed him. When it comes to murder, few know it as I do. Few could have planned as I planned. Few could have put the body in such a trunk as I designed. A perfect trunk. But transporting the body, perfect. I'm a perfectionist. And that is my failing. I have been in my perfection destroyed by imperfect men. The man I killed, he was old. Old enough to be my father. I had planned each step and shipped his body in the trunk to a City only 90 miles away from the scene of the murder. Only 90 miles. And it was the fourth remaining step of a calculation in which each move had the precision of a mathematical equation.

[Paul Bouchard]

Your check, please.

[Libby Mann]

There you are. It's a medium sized trunk.

[Paul Bouchard]

Now we go by the numbers.

[Libby Mann]

It was train 91 out of Carlton. We arrived 30 minutes late at 7:21am Precisely.

[Paul Bouchard]

You should have been a train man. You're better than the dispatchers. Gee, I'm sorry, mister, but I think we sent your trunk out by mistake.

[Libby Mann]

You what?

[Paul Bouchard]

We'll get it back. It happens sometimes.

[Libby Mann]

You idiot. You stupid idiot.

[Paul Bouchard]

Wait a second. I don't have to.

[Libby Mann]

Yes, yes, you're quite Right. And I apologize. When was it delivered? Yesterday. Has anyone phoned about it? Has anyone called complaining of the error?

[Paul Bouchard]

No.

[Libby Mann]

Perhaps they don't realize they have the wrong trunk. Perhaps they haven't opened it yet. Do you think that's possible? Do you think they might not have called because the trunk is still closed?

[Paul Bouchard]

It's the only reason people really beef. When they get the wrong trunk, they scream like wounded eagles.

[Libby Mann]

Give me their name and address.

[Paul Bouchard]

I'll look it up in the book. Oh, yeah, yeah.

[Jim Backus]

Here.

[Paul Bouchard]

Here it is. Name's Granic.

[Libby Mann]

Yes. Thank you.

[Paul Bouchard]

Oh. Aren't you gonna write it down?

[Libby Mann]

I don't have to write it down.

[Paul Bouchard]

Oh, well, see you.

[Libby Mann]

Clerk. Let me see that trunk. What? I want to see the trunk. I. I want to be sure it's not mine.

[Paul Bouchard]

The claim check's wrong.

[Libby Mann]

Yes. Perhaps that's where the mistake lies. In the claim check.

[Paul Bouchard]

Okay.

[Libby Mann]

Okay.

[Paul Bouchard]

So much nonsense about a lousy trunk.

[Shelley Berman]

Yeah.

[Libby Mann]

It's right here.

[Inspector Foucher]

Come on in here and look.

[Libby Mann]

Yes, this is my trunk. You sure you have skeleton keys? Open it.

[Paul Bouchard]

Ah, but your trunk.

[Richard Basehart]

You got a key?

[Libby Mann]

I. I lost my key. Here's $10. Open it. Okay. That is my trunk. The drafting equipment, surveying instruments. They're mine. The tags must have been mixed up. If you want proof, why haven't they phoned? This is my trunk. This one, not the other one. I hated that clerk. I hate any. Anyone I have to depend on. And I had to depend on him. I had to ask him to help me when I know you can never trust anyone's help, ever. But I had to discover who the other people were. And their trunk would tell me. I had to know their secret before they found out mine. Take their trunk. Not to exchange it with mine. They might doubt me, ask me to open it. No. I had to get my trunk my own way and dispose of the body before anyone missed the man I had killed.

[Shelley Berman]

Killed?

[Libby Mann]

Their name was Granick. And some letters in their trunk told me he had been a cripple for three years. Paralyzed in the waist down, an accident fall. I knew more than that. Much more. I knew he'd just come out of a rehabilitation hospital. But did I know enough to get my trunk without there knowing who I really was or knowing the trunk was gone? They would know nothing. Nothing. Absolutely nothing of me. But I would know about them. Doesn't it give you a sense of power to know someone else's secret without their knowing any of yours?

[I]

Yes.

[Libby Mann]

How do you do, Mrs. Granny? Yes. My name is Christensen. Is your husband around?

[I]

My husband is in the living room.

[Libby Mann]

I know. You're going to say he can't come to the door. I know of his accident.

[I]

What did you say your name was?

[Libby Mann]

Christensen. Chris. I know your husband has a great problem. He must. Anyone handicapped like that must have.

[I]

You have no right to say anything like that.

[Libby Mann]

No? No. Didn't they call you from the office? Didn't they tell you I was coming here?

[Paul Bouchard]

Who is it, Betty?

[I]

It's just.

[Libby Mann]

If they didn't call you, then you must listen to me. It's to your benefit to listen before I see him, Betty.

[I]

In a minute, dear.

[Libby Mann]

We're a non profit organization devoted solely to evaluating the attitudes of the crippled. How they're functioning. How much help they need, how dependent they are on others. On their loved ones. You know what I mean, Mrs. Granick. Surely you must know how terribly dependent such victims become. With an inability to help themselves. A refusal. Or rather a refusal to see what they're doing to the lives of their loved ones. Isn't that so, Mr. Granning? Do you.

[I]

Do you want me to tell him who you are?

[Libby Mann]

You can tell him I'm from the hospital. Routine interview. Checkup. Follow through checkup.

[I]

Come in, Mr. Christensen.

[Libby Mann]

Two hours had been lost, but once more I began to feel better. Control of the whole situation was coming back into my hands. Once more I knew I could succeed. I could get the trunk and dispose of the body as I'd planned to do it. Not as circumstance dictated. And because I had control again, I was able to listen to this wasting hulk of a man, this William Grannock, as he regaled me with his memories. But the trunk. Where was the trunk?

[Paul Bouchard]

I suppose everyone goes through this. Maybe I've taken longer to recuperate. Why is that?

[Libby Mann]

It's because of your active life, Mr. Grannock. Your previous activity was outdoors.

[Paul Bouchard]

Always. Civil engineering isn't for sissies.

[Libby Mann]

Oh, no, it's for men. For real men. Building bridges and roads. That's for doers. You're a doer?

[Paul Bouchard]

Was a doer. Was tits.

[I]

And will be again.

[Paul Bouchard]

Never again.

[Libby Mann]

You had a hobby?

[Paul Bouchard]

Yeah, when I worked at the hospital. Dull and stupid.

[I]

He still has his drafting equipment. We kept that.

[Libby Mann]

Yes, that would be good work. Hypothetical engineering problems. I used to do that. I was going to be an engineer. For amusement. I used to pose hypothetical problems for myself and work them out.

[Paul Bouchard]

Really? Where'd you study?

[Libby Mann]

Back east. Long time ago.

[Paul Bouchard]

It couldn't be too long.

[Libby Mann]

It was very long.

[Paul Bouchard]

But you're a young man.

[Libby Mann]

You. About your civil engineering. The drafting equipment. Surveying instruments.

[Paul Bouchard]

I lost interest. Can't do anything with it. I can't sit indoors and pretend it's outdoors.

[Libby Mann]

Where is the equipment?

[Paul Bouchard]

Around.

[I]

You know very well where it is, Bill.

[Paul Bouchard]

We put it in storage. Back home, where we used to live.

[I]

We took it out of storage. Mr. Christensen had it shipped here.

[Libby Mann]

Is it in a packing crate?

[Paul Bouchard]

No.

[Libby Mann]

Well, then what? What? What is it in?

[Paul Bouchard]

Well, what difference does it make?

[Libby Mann]

In case I could help to get it for you. Woman alone can't do it. Such equipment is heavy.

[Paul Bouchard]

She isn't alone. I'm here.

[I]

Yes, darling. Yes, you are. You are here. And you do help me.

[Paul Bouchard]

It's in a trunk. An old trunk.

[Libby Mann]

And where is this old trunk?

[Paul Bouchard]

In the closet. But I don't want to see it. Had a man who delivered it put it there. In the closet. I'm through with it.

[Libby Mann]

And you haven't opened the trunk. You haven't opened it for a long time. In a way, that's better.

[I]

It's raining.

[Shelley Berman]

What?

[I]

It started to rain.

[Shelley Berman]

Are you.

[Paul Bouchard]

Maybe it's presumptuous, but not many people come over these days.

[Shelley Berman]

But.

[Paul Bouchard]

Are you busy for supper?

[Libby Mann]

Why, no. No, I'm not. I'd be delighted. I was exhilarated. The excitement of getting my trunk. The thrill of my long battle almost won. Almost over. It's important to be exact. Only the exact survive. I felt as if I could do anything that night. Anything I wanted to. All the skills I developed over the years. Waiting. Waiting for them to go to bed. Waiting to get to the trunk. I used one of those skills. I made a pencil drawing of the man. Turn your head a bit. This way, I guess. There. That's it. No, it's not right. We'll start over.

[Paul Bouchard]

It's about the 10th time.

[Libby Mann]

I'm going to do this in oils. Ultimately, it must be right. Exactly right.

[Paul Bouchard]

Maybe in engineering you have to be that accurate. Or a bridge would collapse if we went off a fraction. But in this.

[Libby Mann]

In Europe. I studied in Europe. I was told I had a great talent. Truly great talent. Correggio. You ever heard of him? A great teacher. He told me I'd never make a living at it because I was too demanding of myself.

[I]

That's not good. To be too demanding. Expect too much of yourself.

[Libby Mann]

That's. It's wrong. It's gone. Once you decide to abandon a talent, never turn back.

[I]

My husband is going to turn back.

[Libby Mann]

Of course. That's different. I mean, an artist, when he doesn't feel greatness in one field, should go on to another.

[Paul Bouchard]

And an Engineer.

[Libby Mann]

And I'm sure you were a fine engineer.

[Paul Bouchard]

Yeah, that was one of the best he's won award. Mr. Cressinson, would. Would you like to see him?

[Libby Mann]

Why, yeah.

[Paul Bouchard]

They're in the trunk, honey.

[Libby Mann]

I'll show you. No, please, don't bother yourself now. We'll have. We'll have lots of time to talk. Lots of other conversations. Many, many.

[Paul Bouchard]

I guess it would be kind of boasting.

[Inspector Foucher]

It wouldn't be.

[I]

There's nothing wrong with being proud of what you've done.

[Paul Bouchard]

No, no, no, never mind. Betty. Oh, excuse me.

[I]

It's awfully late.

[Paul Bouchard]

You know, Mr. Christensen, you've been kind of good for me.

[Libby Mann]

Brandon.

[Paul Bouchard]

Jose.

[Libby Mann]

Oh, Brandon. Brandon Christian, my first name. Oh, I'm glad I've helped you. But how?

[Paul Bouchard]

Well, by showing me that we shouldn't hold on to something we can no longer do.

[I]

But you can, darling.

[Inspector Foucher]

You can.

[Paul Bouchard]

I'm a cripple. I can't.

[Libby Mann]

And what would you propose as a solution?

[Paul Bouchard]

Maybe I ought to start with those drafting instruments.

[Libby Mann]

Start how?

[Paul Bouchard]

Maybe sell them. Maybe get them out of the trunk. Tomorrow morning and solemn. Yeah. Well, I better get to bed. Good night, Mr. Christensen. See him out, Betty. I can manage the crutches.

[Libby Mann]

Would you. Would you mind if I finished filling in my report here?

[Paul Bouchard]

Certainly not. Go right ahead.

[Libby Mann]

Thank you. I'll see myself to the door. This is Gunnick.

[I]

Well, good night, Mr. Christensen.

[Libby Mann]

Yes, good night. Now wait. Wait for them to sleep.

[Richard Basehart]

Autolyte is bringing you Mr. Richard Basehart in the Perfectionist. In tonight's production in radio's outstanding theater of thrills, so spends.

[Libby Mann]

Hey, Harlow. What are you doing?

[Jim Backus]

I'm showing you how the Auto light electrical system in your Auto Light equipped car provides the power for starting the engine, sounding the horn and playing the radio and the lights and heater too. Hey, Harlo. Right, Hap. As well as the power that's so important every second your engine is running. They're all powered by the Autolite electrical system in which every unit and component part are related by autolight engineering, design and manufacturing skill to give you the finest performance money can buy. The electrical system is mighty important to us car owners, Harlow. And that's why you should treat your car's electrical system to a periodic checkup at your authorized auto light service station or the dealer who services your make of car. You can quickly locate your nearest authorized auto light service station in the classified section of the phone directory or call Western Union by number and ask for operator 25. She'll quickly tell you the name of your nearest authorized auto light service station. And remember, from bumper to tail light, you're always right with auto light.

[Richard Basehart]

And now, Auto Light brings back to our Hollywood soundstage, Mr. Richard Basehar in Elliot Lewis's production of the Perfectionist, a tale well calculated to keep you in suspense.

[Libby Mann]

I waited until the house was silent. Motionless, Staring, listening. There in the open closet, in the trunk, was the body. My heart started to pound. I advanced toward it in the dark. I felt wonderful. Here, so near completion, here in the dark. In a moment, I would have it open. In a moment she. She came into the room and turned on the light. I slammed the lock back and whirled to face her.

[I]

What do you want, Mr. Christensen?

[Libby Mann]

I. I only wanted it. I.

[I]

You had the key to that trunk, didn't you?

[Libby Mann]

I. I wanted to tell you something.

[I]

Yes.

[Libby Mann]

Don't. Don't press me. Don't demand.

[I]

I'll wait. Well, it's.

[Libby Mann]

It isn't easy. It isn't easy. It's very difficult to admit an error.

[I]

A lie. Not an error.

[Libby Mann]

No, no, no. Not a lie. Yes, this a lie.

[I]

You're not from the hospital. You were never near the hospital my husband was in. How did you know? How did you find out about us? Who are you?

[Libby Mann]

Can you forgive me? Listen. Don't judge before you listen.

[I]

What's your name? And don't come any closer. I have this poker.

[Libby Mann]

I won't be threatened. I won't. I mean you no harm. My real name is Brandon. Carl Brandon. I mean you no harm at all. Please believe me. Please. Please.

[I]

Why did you come here?

[Libby Mann]

I'm. I'm a student. Yes, I was in the army and wounded. I had wonderful dreams and plans about what I'd do after I got out. Wonderful dreams. My father's a rich man. He's old and rich, but I couldn't take anything from him. After the war, a pension isn't enough. But I couldn't take anything from him anymore. He gave me money and he told me what to do all the time.

[I]

Why did you come here?

[Libby Mann]

I obtained a part time job in the hospital to support myself. I did work there, you see, but in their storage room. And I heard about the trunk your.

[I]

Husband had with his drafting equipment in it.

[Libby Mann]

Yes, the valuable equipment. I knew I could steal it and sell the things. I knew they were valuable. I know about things like that. I can tell you the cost of each instrument.

[I]

Didn't the fact that my husband and I couldn't afford to buy new ones affect you any?

[Libby Mann]

Yes. Yes, that's what I'M trying to say. Yes, I admitted everything. Why do you keep accusing me? I admitted everything and I ask your forgiveness. Yes, I was wrong. What more can I do? What more do you want me to do? To leave? Turn to my father and say that I was wrong, I made a mistake, that he was right. Give me money, tell me what to do. Order my life. Live my life. Show me my failings. Show me where I'm not as strong as he, as bright as he. As strong. As strong.

[Paul Bouchard]

Oh, wait.

[Libby Mann]

Leave. What?

[Paul Bouchard]

Stay a while.

[Libby Mann]

Just a minute.

[Paul Bouchard]

Sit down, Mr. Brandon. Go on. That's it. The Mr. Brandon. Sounds wrong. Mind if I call you Carl, isn't it?

[Libby Mann]

Yes, Carl.

[Paul Bouchard]

Carl Brandon. It's a nice sounding name, huh? Betty, makes some coffee, will you, honey?

[I]

Coffee?

[Paul Bouchard]

Yeah. How do you like it, Carl?

[Libby Mann]

Just plain black coffee.

[Paul Bouchard]

The way they drink it in the army, huh?

[Libby Mann]

Oh, yes. Yes, always.

[Paul Bouchard]

I was there myself. I know what it's like to come out and be hit with civilian life.

[Libby Mann]

It isn't a problem. There's nothing one cannot work out if one has the willpower and the self discipline.

[Paul Bouchard]

I couldn't have, not without Betty. Takes a woman or a friend or just somebody who cares. It takes someone to help.

[Libby Mann]

I don't need any help, Mr. Grannock.

[Paul Bouchard]

Bill.

[Libby Mann]

Just call me Bill, Mr. Grannock. I don't need any help. I'm fully capable of solving my own problems without help. Without advice.

[Paul Bouchard]

We all need help sometimes. None of us can live without it. You're bitter. I can understand it. I felt it. But you have to listen to other people sometimes.

[Libby Mann]

Why don't you try your homey little platitudes on yourself? Did they do you any good in that wheelchair? If they made you bounding with hope and ambition? Are you a better person now than you were before you were paralyzed? Don't preach to me.

[I]

You'd better leave right now. Now.

[Paul Bouchard]

No, no, no, Betty, you have to listen. Maybe he's right, too. Maybe he can see my problem clearly the way I can see his.

[Libby Mann]

I can't stand waiting. Waiting sometimes makes me angry. I'm sorry.

[Shelley Berman]

Sure.

[Paul Bouchard]

Sure, I understand. And even though I'm not too much older than you, Carl, I. I've seen an awful lot, been around a lot. And that's why, even though we might not meet again, I. I'd like to talk to you straight, like a member of your own family would.

[Libby Mann]

I don't need instruction.

[Paul Bouchard]

It's advice.

[Libby Mann]

And I don't need advice.

[Paul Bouchard]

We all need it sometimes.

[Libby Mann]

His advice was just like yours. To do things the way he did them. But letting me know that I could never do the things the way he did them. That I was incompetent and he was better, always better.

[Paul Bouchard]

I don't mean that. Not that way.

[Libby Mann]

Well, I did something better, Braver. Something more daring, more skilled than he'd ever dreamed of doing. You understand? I've accomplished what he could never do.

[Paul Bouchard]

What do you mean? What are you trying to say?

[Libby Mann]

That you can keep your rotten advice to yourself? That you're nothing but a cripple?

[I]

You're the cripple, not my husband.

[Jim Backus]

You're the cripple.

[I]

In your head. Only his legs are gone, but.

[Paul Bouchard]

All right, Carl, what is it that you've done that so great?

[Rod Serling]

Get up.

[Libby Mann]

Go ahead of me. I'll show you. Do as I say now. Right now. I knew then. I knew I'd have to kill them and perhaps they knew. A woman with a cripple for a husband. Perhaps they knew they had to be killed because. Because I don't know why I knew then, but I can't remember now. I knew more and more as they went fearfully toward the closet, afraid to make a move, to attack me. Afraid because he was a cripple and she was powerless. And I opened the closet door. My excitement was so great, I hardly remember each step. I'm not lying. I barely remember. I turned the key in the lock. Each move was precise, not emotion wasted. Not one action misplaced. For this was my victory against everything that stood in my way. Not to argue, not to discuss, but to kill. To kill perfectly quickly. Kill what stands in my way. Kill. Kill the grannocks. Kill the man in the trunk, the man who looked like my father. And I swung it wide. It will do no good. It will not help. The time is past.

[Paul Bouchard]

Why not me first, Karl? You afraid of me?

[Libby Mann]

Afraid of a cripple? Why didn't I think? Why didn't I calculate? Why for the first time in my life, an act of passion. Without thinking, I leaped at him like an animal, like a beast. Have you ever fought a man whose legs are useless? Have you ever felt the arm of a man who uses his arms to sit and go and move and rise? They're steel. They went to my throat and I struggled in a dream. I can even feel them now. This wasn't the way. Where was my triumph, my victory? Where was my glory?

[Paul Bouchard]

Are you afraid of me?

[Inspector Foucher]

Please.

[Libby Mann]

Please.

[Paul Bouchard]

You're afraid of a cripple, perfect man.

[Shelley Berman]

Stop.

[Libby Mann]

Please stop. I didn't mean it. I'm sorry. I didn't mean it, Bill.

[Paul Bouchard]

Call the police first. Ready? Then come back and help me up.

[Richard Basehart]

Suspense presented by autolite. Tonight's star, Mr. Richard Basehart.

[Jim Backus]

This is Harlow Wilcox speaking for Autolight, World's largest independent manufacturer of automotive electrical equipment. Autolight is proud to serve the greatest names in the industry. That's why during the early months of 52, the Autolite family will join together in saluting the leading car manufacturers who install Autolight products as original equipment. Our Autolight family is made up of the nearly 30,000 men and women in 28, great auto light plants from coast to coast. Our family also includes more than 18,000 people who have invested a portion of their savings in Autolite, as well as 96,000 auto light distributors and dealers in the United States and thousands more in Canada and throughout the world. Our Autolite family will salute the Dodge division of Chrysler Corporation on the next Autolite suspense television program. Check the day and time of suspense on television so that you will be sure to see this program and be with us next week for another thrilling suspense program on radio.

[Richard Basehart]

Next week on suspense, our star will be Mr. Joseph Cotton, who will portray a man without emotion, the mechanical man in a tale we call Carnival. In weeks to come, we shall also present Mr. J. Carol Nash, Mr. James Mason and Ms. Barbara Stanwyck, all on suspense. Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morwick and conducted by Lud Bluskin. The perfectionist was written for suspense by Arthur Ross. In tonight's cast, Charlotte Lawrence was Betty Granick, William Conrad was Bill Branick and Joseph Kearns was the attendant.

[Jim Backus]

Tonight's appearance is made possible through permission of 20th Century Fox. Mr. Bassart may currently be seen in their production of Decision before Dawn.

[Richard Basehart]

And remember, next week on suspense, Mr. Joseph Cotton in Carnival.

[Jim Backus]

This is the CBS Radio Network.

[Host of Relic Radio Show]

There's more from the Zero Hour Suspense, the Relic Radio show and all of the Relic radio podcasts@ Relicradio.com. you'll find our shoutcast stream there as well with even more old time radio lots to listen to there, all made possible by your support. Give that donate button a click if you'd like to help support this and all of the shows. Thanks to those who have. Thanks for joining me this week. Be back tomorrow with a an hour of mystery on Case Closed and next Tuesday with our next episode of the Relic Radio show.