July 28, 2025 • 61 mins
Please enjoy Deadline At Dawn la a great episode of the legendary Suspense - Old Time Radio show OTR - a Old Time Radio OTR classic.
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Episode Transcript
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Speaker 1 (00:15):
Suspends radios outstanding Peter A. Frills brings you an hour
our full, sixteen minutes of suspense. Good Night, our stars,
Miss Helen Walker and mister John Beale. Our Story Deadline
(00:36):
at Dawn by William Irish are suspense play produced.
Speaker 2 (00:40):
And directed by Anton M. Leader.
Speaker 1 (00:48):
If you've ever been alone in a strange, big city,
you know the haunting loneliness of it, and you know
how the sight of a familiar face, the sound of
a familiar voice can lift your spirits high. Even a
stranger who comes from your hometown becomes a long lost
friend because he brings with him a breath of home,
a flood of memories. That was the emotion that drew
(01:08):
Brickie Coleman and Quinn Williams together. But their meeting wasn't
the joyful, happy kind, but it was the beginning of
longing and fear and danger. And now, with the performances
of Helen Walker as Brickie Coleman and John Deal as
Quinn Williams, and with William Irish's great story Deadline at Dawn,
(01:29):
we again hope to keep you in.
Speaker 3 (01:31):
Suspeng Until I met him, men were just tink dance
(01:57):
tickets to me. They were just two half since worth
a commission on the dime. Here's a feat that kept
crowding mine. All over the map, all over the floor,
all over the night. There were blank faces that could
steer me anyway they wanted until their five minutes were up.
Because I was a New York taxi dancer until I
(02:19):
met him, a girl from a small town caught and
held fast in the big city, with all her dreams
forgotten and all her hopes gone. I'm not caring anymore,
not caring at all until I met him. They always
did the lights for the last dance, just to make
(02:42):
the customers feel sentimental.
Speaker 2 (02:43):
About it all.
Speaker 3 (02:46):
At one in the morning, I was so again for
the day. I put on my cold go out the
side door, walk past the sad sacks that thought they
were wolves and loitered on the sidewalk, and then I'd
begin the twenty blocks.
Speaker 2 (03:00):
The home.
Speaker 3 (03:03):
Home was a filthy old brown stone down near the river.
The long, smelly hallway and a room to the back
beside the closet, a room with a bat of valise,
an old army cost that was home go a plice.
There was a place where I could get out of
my shoes and make some cop.
Speaker 2 (03:24):
You left your door open, so I left.
Speaker 3 (03:28):
My door ocot. Did you think that was an invitation
to walk in?
Speaker 2 (03:32):
You better close it now?
Speaker 3 (03:33):
Hey, listen here please all right, you're a burglar. You
won't find anything. The rats got here first.
Speaker 2 (03:47):
I am ay.
Speaker 3 (03:49):
Oh, then you're a very smart one. What are you
looking for? Coffee grounds?
Speaker 2 (03:53):
I wasn't looking for anything.
Speaker 3 (03:55):
Oh then why don't you go? Please find a nice,
rich old lady to rob.
Speaker 2 (03:59):
I need a place to stay for a while. I
thought maybe you would let me.
Speaker 4 (04:05):
What stay here?
Speaker 3 (04:07):
Oh, I don't hand out favors. You're nothing to me,
I know, just a hunt.
Speaker 2 (04:11):
You my head. The way you were looking at me,
I thought I could come here for help.
Speaker 3 (04:18):
The way I was looked. I've never seen you before
in my life.
Speaker 2 (04:23):
Well, you were looking straight at me at the dance
wall about an hour ago.
Speaker 3 (04:27):
You mean you were at the Cinderella Ballroom tonight.
Speaker 2 (04:30):
Don't you remember me?
Speaker 3 (04:32):
No, that's funny, not funny at all. You're all look
the same to me, namely horrible.
Speaker 2 (04:40):
I guess it's my mistake. I was sure you seem so.
Speaker 3 (04:47):
So nice, did I? Yeah, that's because I was thinking
of home. I always do that on the job. Makes
the night go faster.
Speaker 2 (04:56):
I guess I don't know what you mean.
Speaker 3 (04:59):
What'd you do?
Speaker 2 (05:00):
No, the man at the door gave me your address
for a dollar.
Speaker 3 (05:05):
Oh he did, did he?
Speaker 2 (05:07):
I wanted to get off the streets this time of night.
The cops are curious. I thought I saw one of
them following me, so I beat it down this hall
to hide. That's when I find your door open. And
you picked a good.
Speaker 3 (05:17):
Place for hiding. Nobody ever comes here with the landlady
once a month.
Speaker 2 (05:21):
Please let me stay awhile? Please?
Speaker 3 (05:26):
What's your name?
Speaker 2 (05:28):
Quinn Williams?
Speaker 3 (05:29):
Quinn? Yeah, never heard that name before.
Speaker 2 (05:31):
It used to be my mother's before she got married.
I see, what do you say?
Speaker 3 (05:39):
You want some coffee?
Speaker 5 (05:40):
Quinn?
Speaker 2 (05:41):
Thanks?
Speaker 3 (05:43):
Thanks, but get this straight. One cup of coffee and
nothing more. No sugar goes with it. You give me
one blink too many coffee.
Speaker 2 (05:51):
I understand a man can tell by looking at a
girl whether she means one thing or another.
Speaker 3 (05:58):
I'd be surprised how many of them ought to have
an off titian. I know, give me a match for
the oven.
Speaker 2 (06:05):
Here you are.
Speaker 3 (06:11):
I got the oven list and reached out on some
cups and sauces and watched him.
Speaker 2 (06:16):
Not that I was worried.
Speaker 3 (06:18):
I wouldn't have closed the door if I hadn't thought
I could handle him. It was only that he was
so young and his face was so tight and strained.
He didn't beat by the city. Must have been like
taking candy away from a baby. He trusted me because
I'd smiled at him while I was dancing, and he
(06:41):
thought that smile was to him. I wish it was
all of a sudden because he was different. Carbly won't
be long.
Speaker 2 (06:53):
I'm in no hurry.
Speaker 3 (06:56):
Pretty young for birgh, aren't you?
Speaker 2 (06:58):
Doesn't take much training.
Speaker 3 (07:01):
Where'd you come from? And how did it happen?
Speaker 2 (07:04):
Oh? I come from a little town. There's nothing much.
Speaker 3 (07:08):
But I like it myself.
Speaker 2 (07:12):
From my place is glen Falls. I will what's yours?
What's the matter?
Speaker 3 (07:19):
Nothing?
Speaker 2 (07:20):
Oh? I thought I said something wrong.
Speaker 3 (07:21):
No, you said something right.
Speaker 6 (07:23):
It's crazy, a crazy coincidence.
Speaker 3 (07:25):
But I come from glen Falls too.
Speaker 2 (07:29):
That's that's amazing.
Speaker 3 (07:30):
You know it is?
Speaker 2 (07:31):
What street did you live on? And there's nothing near
Pine Street? The second house down between Pine.
Speaker 3 (07:35):
Or when I lived just across the street from you?
Speaker 2 (07:41):
How is it we never met.
Speaker 3 (07:42):
I don't know. I came here five years ago.
Speaker 2 (07:45):
Oh, I've been here a year. You must have come
to New York before we moved in.
Speaker 3 (07:48):
Sure, Wait a minute. Have you got a brother with
a lot of freckles?
Speaker 2 (07:53):
Yeah, Johnny, he's just a kid.
Speaker 3 (07:54):
About eighteen night this has been writing to me about
a new boyfriend, a boy named Williams. How perfectly he
is except for the person and Nicoles Delware are all
So you're the boy next door?
Speaker 2 (08:08):
What are we? We'd probably known each other very well
if you'd stayed at home.
Speaker 3 (08:17):
I know.
Speaker 2 (08:19):
I wish you had stayed.
Speaker 3 (08:22):
I do too.
Speaker 2 (08:24):
What's your name?
Speaker 3 (08:26):
Ruth Coleman. Everybody at home calls me Bricky. They started
it because I do. You have a feel that you
want to go back. Every days the bus leaves New
York every morning at six. I know I haven't quiet.
I've got the fire sewed up in my mattress.
Speaker 2 (08:48):
Haven't you gone?
Speaker 3 (08:50):
Because my mother thinks I'm dancing in a Broadway show.
Because I'd be too ashamed, because it's so hard.
Speaker 7 (08:57):
To go back.
Speaker 2 (08:58):
You ought to go, Bricky this morning at six o'clock.
You want to go back?
Speaker 3 (09:04):
Hard? Going back alone? If someone could come with me.
Would you come home to Quinn.
Speaker 2 (09:13):
Long Brickie.
Speaker 3 (09:14):
You want to escape from the city, don't you just
like me? You want to go back? You should do,
then come with me. If it's a sair you're worried about.
I've got enough for both of us, including a good
dinner in Chicago, anything for the boy next door.
Speaker 2 (09:25):
Quinn makes Breaky. It's too late. The police will be
looking for me around eight o'clock this morning.
Speaker 3 (09:31):
Oh god, I forgot. How long have you been a burglar?
Speaker 2 (09:40):
About three hours?
Speaker 3 (09:42):
Three hours?
Speaker 2 (09:44):
I did it tonight for the first time, so you see, Breakie,
it's a little too late for me to go back.
I've missed the bus or three hours.
Speaker 3 (09:57):
Coffee is ready, Quinn, huh? Good cream and sugar?
Speaker 2 (10:02):
No thanks, Fly?
Speaker 3 (10:12):
Was it easy?
Speaker 2 (10:15):
Very easy?
Speaker 3 (10:16):
Why'd you do that?
Speaker 2 (10:18):
You'll do anything when you've gone for four days without eating. Oh,
but it's funny. After I'd done it, I went straight
to the best restaurant in town. I looked at the
menu and got ready to order everything on it, two
helpings of everything. But I couldn't eat it, so I
got it and walked out. That's when I began to
(10:40):
think the cops were trailing me. I'm not used to
being a robber.
Speaker 3 (10:45):
So you still got it all with you.
Speaker 2 (10:49):
Twenty five hundred dollars in cash. Divide it up into
small rolls in all my pockets. You wanna see it now,
do I? But it's there. I can feel it against
my skin all over my body.
Speaker 3 (11:08):
Where did you get it? Quinn Well?
Speaker 2 (11:10):
I was working for an electrician about four months ago.
One day I got a call to go to a
big house on seventy first Street and put a fixture
in the bathroom wall. I had to cut a big
hole in the wall to do it. While I was
doing that, I I ran into wood and I wouldn't
box in the wall. I did my work just beside it.
Speaker 3 (11:29):
And that box.
Speaker 2 (11:31):
That box was the back of a safe. Oh put
it into the wall of a study in the next room.
The part of the safe was good, heavy steel. When
they built it, nobody thought it could be broken into
from the other side through the bathroom, and nobody ever
would have either until an electrician ran into it one
day by mistake.
Speaker 3 (11:51):
But all this happened four months ago.
Speaker 2 (11:54):
Yeah, he said. I brought more tools with me than
I needed that day, and I let some of them
in my back downstairs. He was on a little table
near the front door. And when I got back to
the shop, I found a key in the bag. I
must have brushed it in while I was putting the
tools back after finishing the job. It turned out to
be a key to the front door.
Speaker 3 (12:13):
You didn't return us I didn't.
Speaker 2 (12:16):
You know, I meant to, but right then I forgot
all about it. And when I did remember that I
had the key, I was out of work, hungry and
wanting money badly. So I went back there tonight. I
opened that hole again, pulled the back of the safe out.
(12:38):
I didn't bother with any of the papers or securities.
I just took the cash. The house was empty. The
man who lives there society fell, but the name of
Graves was probably hot on the town. So I just
walked out the front door. HM, seems like ten years ago.
It was only three hours.
Speaker 3 (13:00):
So this bravesman will see the hole in the morning
when he goes in to take a shower, and then
he'll call the police.
Speaker 2 (13:06):
There will be a quick trial and a short one,
but the sentence won't be so short.
Speaker 3 (13:13):
The boy next door, the boy you waved to when
you come in and out of your gate. The grinning
boy next door friendly as a top.
Speaker 2 (13:22):
You go back, Bricky, that's where you belong. It's only
kind of life for you.
Speaker 3 (13:26):
Come with me, Quinn.
Speaker 2 (13:27):
I told you I can't. They've got a long arm.
They'll find me, and I'd rather have him find me
here in the city.
Speaker 3 (13:35):
Have you still got the key, the key you went
in with? Why well, if you can get back in
before he comes home, just in and out long enough
to put the money back. They won't come all the
way to Iowa for you, just for chopping a hole
in the wall. If nothing's been taken. Who want to
go home? At six o'clock this morning? He is If
(13:57):
he's out on the town, he won't be home yet.
Least that's what we'll pray for.
Speaker 2 (14:01):
We we'll go together.
Speaker 3 (14:03):
Now. I wait outside for you, and then we'll get
out of the terminal'll buy our tickets and wait for
the bus. We'll wait for dawn together, Quinn.
Speaker 2 (14:12):
You mean you'd do this with me for.
Speaker 8 (14:14):
The boy next door anytime anything, There was no time
to lose.
Speaker 3 (14:24):
Braves might be coming home any minutes. I got some
money out of my mattress, and we ran out of
into the cold empty street, just as the cab croused by.
We hied into it and told him to take us
to seventy first Street and to take us back.
Speaker 7 (14:39):
And great, body's always in a hurry.
Speaker 3 (14:42):
What's your hurry? A night's young? Yeah, never mind the conversation,
Joel drives. The customer is always right.
Speaker 2 (14:54):
I just remembered what. I can't pay for this cab
unless us some of our capital.
Speaker 3 (15:00):
I don't care what you use now, just so it's money,
don't worry about it.
Speaker 9 (15:04):
You'll get paid.
Speaker 3 (15:05):
I'll pay him. We don't want to use any of
our capital, not a single penny. Dog got to go
back breaking.
Speaker 2 (15:11):
When we get out of this, when we get back home,
i'll thank you. Then I'll find a way to thank you.
Speaker 3 (15:19):
That's any face street, any special number.
Speaker 2 (15:22):
No, just let us out here on the corner.
Speaker 10 (15:30):
That's ninety cents, and I can break a fifty if
I have to.
Speaker 3 (15:34):
He's ninety cents, and here's a dime.
Speaker 2 (15:37):
Have fun. Well, here we are, where's the house across
(15:57):
the street and up a little wait here? All right,
don't come any closer than this. I'll be back in
no time. Don't be frightening Brookie.
Speaker 3 (16:06):
Don't take any chances, Quinn. If you see any lights,
if it looks as if he's coming back already, don't
go all the way in. Just throw the money inside the.
Speaker 7 (16:14):
Door a goodbye, then goodbye, Quinn.
Speaker 3 (16:18):
Hurry back. I waited for him there and the chilly
knight from the dark empty street. Why I knew better.
New York had taught me one thing, and that was
never to be a sucker for a man. But then
(16:38):
this was no man. This was the boy lived across
from me on Anderson Street in Glen Falls, Iowa. The
boy had come here to do big things, to lick
the town, and instead he'd been licked. Instead, he was
hiding in the dark, sneaking along the streets, helpless, the
(17:00):
boy next door. Then I suddenly clutched back into a doorway.
A patrolman was coming on a tour of beauty. He
stopped mammy not ten yards away, but his back was
to me, and his hand was opening a call box.
Speaker 2 (17:18):
Where I should reporting in to thirty five am. How's
the rummy game going? And another thing side quiet as curach.
Speaker 3 (17:29):
He finished his call, closed the box and went on
down the street. And he turned a corner and disappeared,
and I breathed again. He'd been right. So it rose
quiet as a church. And that was wrong because Quinn
(17:49):
should have been back long ago.
Speaker 2 (17:55):
Ricky, Ricky, tell me, Quinn, what is it? What is it?
What do you say now?
Speaker 3 (18:00):
Bout what's happened in there?
Speaker 2 (18:01):
He's been killed. He's dead, he's lying in there dead,
the man who lives.
Speaker 3 (18:06):
Yeah, mister Graves, what you Quinn? Did you do it
the first time you were in there?
Speaker 2 (18:16):
And I swear I didn't breaky. I only get the money.
He wasn't even there. He must have come back since I.
Speaker 3 (18:22):
Knew you didn't, Quinn. I knew even though I asked.
Speaker 2 (18:27):
Go down to the terminal, get your ticket and climb
on that bus and forget where you ever met. Go on,
break you beat it before they find out without you,
don't you see now it's murder they'll charge me with
They'll find the bathroom, fix your temper with the places
electricsen and the mean, they'll they'll naturally think, oh, don't
you see it's too late.
Speaker 3 (18:44):
Breaking never too late. Don't you know that up until
the last second of the last minute of the last star.
What do you mean we'll go back in there and
see if we can figure it out. It's our only hope.
We're fighting for our lives, Quinn, for our lives, and
we have until six o'clock this morning to win out
of it.
Speaker 2 (19:01):
All right, Chap, come.
Speaker 3 (19:05):
On, and so very slowly we went together into the
place where death was. The door closed on our backs,
and we felt our way down a long and narrow hallway.
Speaker 2 (19:20):
He's upstairs. I didn't want any lights on down here.
Just hang on to my sleeve. I'll lead the way,
all right.
Speaker 3 (19:27):
We went forward in a thought of swimming darkness that
was almost liquid. It was so dense. I could feel
the muscles in his arms shivering. But he was brave,
not afraid. He was going into it, not running our
way from it.
Speaker 2 (19:42):
A step here, the stair creaked.
Speaker 3 (19:46):
Under our waist. I wondered if there were anyone else
in the house, anyone's still alive. Suppose someone slept through
the murder, won't be awakened any moment by us. Okay,
we're on the second floor now. I smell the aroma
of leather and woodwork. I smelled the last lingering trace
(20:10):
of a cigar. I smelled powder, a harsh, deadly powder. And
then I thought, I thought, I thought I'd smelled something sweet,
something very sweet.
Speaker 2 (20:25):
All right.
Speaker 3 (20:28):
They say you can't smell a recent death, but I
could smell of stillness, and a presence in its effort
was more than just a gainsteness.
Speaker 2 (20:38):
Get your eyes ready, Here go the lights.
Speaker 3 (20:43):
The dead man lay in the middle of the study.
His face was all out of focus. The lines that
had been laugh lines were creases now. The mouth that
had been either strong or weak was just a gap now,
a place where the face was opened. The eyes, neither
kindly or cruel, was just glossy, lifeless insects. So this
(21:07):
was the dead man, and we'd come for his secret.
Speaker 2 (21:11):
This is it, bricky, Yes, this is it?
Speaker 9 (21:17):
Now?
Speaker 2 (21:17):
What do we do?
Speaker 3 (21:20):
Shouldn't we close it? They seem to be watching.
Speaker 2 (21:26):
No, don't touch him. I don't know how to do anyway.
Speaker 3 (21:31):
He's he's stilling his toxico. It couldn't have been home
very long. Can you tell what it was done with?
Speaker 10 (21:40):
No?
Speaker 2 (21:40):
I have done Buttony's jacket, all right, Go ahead. There
is must have been a gun. Yeah, a bullet is
round and frizzled. A night would have made a.
Speaker 3 (21:55):
Snitch and we could be sure no one else was
in the house, or they would have heard.
Speaker 2 (21:58):
It go off, and the killer must have taken the
gun away. There's no sign of one lying around.
Speaker 3 (22:01):
We didn't do it himself.
Speaker 2 (22:02):
It can't be suicide, right, No, we've got look in
his pockets. Yes, I'll do it. You look the things
over as I hand them to you, all right, quinn
I'll start up here. The breast pocket is the highest
pocket in anybody's suit. His handkerchief.
Speaker 3 (22:20):
Luck when the bullet went through this the way it's folded,
it just made one little hole. When you open it up,
it makes three separate holes, like when you cut papers
and make them into patterns.
Speaker 2 (22:37):
The one on the left side is empty. The right
hand pocket empty too.
Speaker 3 (22:43):
Try inside the jacket, Yeah, tick out everything, no matter
what it is. Cigarette case, silver tiffanies three cigarettes in it.
The wallet, two fires in a single, two tickets stops
from tonight show the Alasko see one hundred and twelve,
(23:04):
one hundred and fourteen, So we know where he was
from eight thirty to eleven, and anything else. Business cards,
Stafford Holmes, Inglesby, whoever they are, Oh a snapshot girl
in writing Charles.
Speaker 2 (23:18):
Let's see that.
Speaker 11 (23:20):
Yeah, it's the same ones in the silver frame over
there on the desk to Steven with love from Barbara.
Speaker 3 (23:27):
And she didn't do it. If she had, she wouldn't
be there on his desk anymore. Just the silver frame maybe,
but not her anymore. That's common sense.
Speaker 2 (23:32):
All right, Let's go on.
Speaker 5 (23:35):
I'd like to lift him a little go ahead, left
rear in the trousers. Nothing right rare, spare handkerchief, left
side nothing, right side, match boarders loose change.
Speaker 2 (24:03):
La key.
Speaker 3 (24:06):
That's it't much help.
Speaker 2 (24:10):
Do we know what we're doing? Bricky? I don't know.
Speaker 3 (24:16):
Quinn a man who was a cigarette smoker, and we
found that case in his pocket. Would he go into
cigars too?
Speaker 2 (24:25):
Maybe some people smoke.
Speaker 3 (24:26):
So, but would he smoke two cigars alone by himself?
He could look Quinn. Two bucks in this tray, yeah,
and the.
Speaker 2 (24:34):
Trays between two chairs facing each other, one cigar and
one notch of the tray, the other one around on
the other side from the two people.
Speaker 3 (24:43):
Quinn. Two men.
Speaker 2 (24:44):
They were having an argument. One of them has worked
up about something. You see, this buddy is smooth at
the mouth end. And look at this one chewed two
ribbons chewed to a fringe. That tells it.
Speaker 3 (24:53):
Which is whitch who was calm and was steamed up?
And who was the other man with Graves?
Speaker 2 (25:00):
Oh, Quinn, here's something must have fallen out of his pocket.
He was probably sitting on it.
Speaker 3 (25:06):
Fine, another book of matches?
Speaker 2 (25:08):
That just another one. Graves had some on him. So
this is the other man.
Speaker 3 (25:13):
And did he leave his name on it?
Speaker 2 (25:15):
No? But he was excited. Look how many matches he
used up just when that once agard.
Speaker 3 (25:19):
The folder could have been half used up before he
began brave.
Speaker 2 (25:22):
He'll take this. What does it tell you?
Speaker 3 (25:24):
He tells me the h Dawson's.
Speaker 2 (25:27):
Gun, not the cover inside.
Speaker 3 (25:31):
I don't know what he's driving here.
Speaker 2 (25:34):
Yeah, take my matches and turn one off. Let's try
it all right, Okay, blow it out. Can you see
what you did?
Speaker 3 (25:46):
No?
Speaker 2 (25:47):
You tore the match from the right hand side, didn't you. Yeah,
that's what everybody does. They start on the outside on
the right and work their way over to the left.
But this porter was worked in reverse.
Speaker 11 (25:57):
Now do you see the mare is sitting in the
chair facing Graves was left handed.
Speaker 3 (26:04):
I see we're making progress, are we, Quinn?
Speaker 12 (26:08):
Of course we are We know this man was rattled
about something, that he whittled away fifteen matches to one
cigar and then mangled it to ribbons between his teeth,
that he was probably on bad terms with grays, and
that he's left handed.
Speaker 3 (26:20):
I'm only you've missed something. What the matches belong to?
A woman?
Speaker 2 (26:26):
A woman? A woman chopped that cigar pieces.
Speaker 3 (26:29):
Smell the folder. What do you get?
Speaker 2 (26:33):
It's soft of the way matches.
Speaker 3 (26:34):
Always give that a minute to clear away. That's the
stronger of the two. It topped the other.
Speaker 2 (26:39):
Now, okay, the film, isn't it.
Speaker 3 (26:44):
Yeah, it's been carried around all day in a handbag,
a handbag of stinks of the film. I noticed it
in the dark and we were coming in. There's been
a woman in this room tonight.
Speaker 2 (26:55):
Well it gives us two of them, a man and
a woman, and they weren't here together. There are only
two chairs, one for graves and the other one for
each of his business.
Speaker 3 (27:03):
Who was the last to go the man of the woman, I.
Speaker 2 (27:06):
Don't know, but we're started. Look, we've dug up in half.
Speaker 3 (27:09):
An hour two unidentified people in the biggest city in
the world.
Speaker 2 (27:15):
Ah, you're right, it's.
Speaker 3 (27:18):
No use oh, even so we can't give up.
Speaker 2 (27:21):
It's no use. And what's more, I'm yellow, Bricky. Let's
give it up.
Speaker 3 (27:27):
You're not yellow, Quinn, or I wouldn't be up here
in this room with deal.
Speaker 2 (27:32):
I'd better tell you this. Well I can, Bricky what
I love you.
Speaker 3 (27:42):
It's three o'clock, Quinn, and we have to six three hours, Bricky,
save it, Quinn. Save it for the bus. And we're
on our way home.
Speaker 2 (27:55):
All right, But I don't know what to do next
to you?
Speaker 3 (28:01):
No, I don't.
Speaker 2 (28:04):
What's that?
Speaker 1 (28:15):
In tonight's full Hour of Suspense, Helen Walker and John
Beale co star in Deadline at Dawn by William Irish.
Tonight's study in Starshpence, Just the Moment, we will return
(28:36):
with Act two of Suspense. This is CBS the Columbia
Broadcasting System and now back to our Hollywood soundstage and
Act two of Deadline at Dawn, co starring Miss Helen
(28:58):
Walker as Brickie Coleman and mister John Beale as Queen
Williams in radios.
Speaker 2 (29:04):
Outstanding, Hear a Frill Pen.
Speaker 1 (29:19):
All the emotions of a lifetime have been crowded into
one night for Rickie Coleman and Queen Williams and Dawn
is a fast approaching deadline which they must meet the
bus which will take them to home, and safety seems
remote and unattainable as they stand now over the body
of a dead man in the quiet apartment, knowing that
(29:39):
they must find his murderer or stand incriminated for the
crime themselves. And suddenly a terrifying sound comes to them.
Speaker 2 (29:49):
When is it, bricky one into.
Speaker 3 (29:51):
Sounds like a peas lamb?
Speaker 2 (29:53):
The front doorman, Yes, women, if there's a bottle over
there against the wall, all the cords, ask pick my drawer.
Speaker 3 (30:03):
What should we do?
Speaker 2 (30:05):
I'll answer, don't be carefully.
Speaker 3 (30:07):
To have the police here.
Speaker 2 (30:07):
Don't know.
Speaker 7 (30:08):
It's not his voice.
Speaker 2 (30:09):
I'll tuck Lord, I'll pretend I'm here, say, oh.
Speaker 4 (30:18):
Darling, this is Barbara.
Speaker 3 (30:21):
I had to speak to you.
Speaker 2 (30:22):
It's not a plot.
Speaker 9 (30:23):
I ain't really liked this before.
Speaker 2 (30:25):
I know, maybe if.
Speaker 3 (30:27):
We hadn't gone there to that talking place, it wouldn't
have happened.
Speaker 2 (30:31):
No, who was she?
Speaker 3 (30:34):
The poor redhead and the light green grass?
Speaker 2 (30:37):
I don't know you told me that before?
Speaker 13 (30:41):
Then?
Speaker 3 (30:41):
Why did you said the villagy be hand?
Speaker 2 (30:43):
I saw a build you know, did you?
Speaker 3 (30:46):
And then you couldn't wait to see me to my
door and get me off your hands? What happened, Steve?
Did this woman come by to see you afterwards? Is
that why you wanted to get rid of me?
Speaker 2 (30:58):
No, Barbara stee He sounds so far away?
Speaker 3 (31:04):
Is that the telephone?
Speaker 2 (31:07):
Or is it you? Poor collection?
Speaker 3 (31:10):
You sounds so cagy? Is it's someone over there?
Speaker 2 (31:13):
Now?
Speaker 9 (31:14):
Can you talk louder?
Speaker 2 (31:16):
I'm sorry?
Speaker 4 (31:17):
What's going on there?
Speaker 3 (31:19):
Is it? Stephen?
Speaker 2 (31:19):
Isn't it? She's catching on?
Speaker 3 (31:21):
I'm take away from the north piece and turning my way.
She'll good. Come on, I'm getting tired of waiting. How
much longer are you gonna stand there talking? I'm sorry, Stephen,
forgive me. I didn't know. You can hang up now.
Speaker 2 (31:44):
I feel like a heel.
Speaker 3 (31:45):
We'll stop if we don't have time.
Speaker 2 (31:47):
The parakeet that's a nightclub, isn't it.
Speaker 3 (31:50):
It's on fifty fourth Streets. A woman slipped him a
note clean? Oh woman?
Speaker 2 (31:54):
Could be Do you think he tore it up? Or
maybe not? Maybe you wanted to have a good look
at it when he got home alone.
Speaker 3 (31:59):
Let's look again.
Speaker 2 (32:00):
So I went through those pockets, break carefully from sure,
it's nothing you might.
Speaker 3 (32:03):
Have missed something, Quinn. Turn him over again.
Speaker 2 (32:08):
All right, m nothing, nothing at all. Shall we go
through the desk. Wait a minute, crun.
Speaker 3 (32:21):
Your eyes over him again.
Speaker 2 (32:24):
I don't see a thing.
Speaker 3 (32:26):
He's very well dressed, and yet he isn't that a
hole in the heel of his sock. They're just showing
over the shoe.
Speaker 2 (32:35):
That's funny.
Speaker 3 (32:37):
Take his shoe off, Quinn.
Speaker 2 (32:41):
Okay. Of course he didn't want Bob to see it,
so he hid it here and he could be alone.
Speaker 3 (32:50):
He never was alone.
Speaker 2 (32:52):
Just a scroll on, mister Grays. I'd like to speak
to you in five it after you've taken the young
lady home. And I don't mean summer the time, I
mean tonight. I wouldn't want to be disappointed, that's all.
(33:12):
It isn't sign a woman of the matches. It sounds
like a shakedown.
Speaker 3 (33:17):
You mean black mail.
Speaker 2 (33:17):
That's right. He'd have to pay attention to a note
like this.
Speaker 3 (33:20):
And we're going nightclubbing, my boy. We'll visit the paraquet.
Speaker 2 (33:23):
It'll be closing by now.
Speaker 3 (33:24):
You must have been seen there. A tall redhead and
a light green dress will shot with the people who
work there. They'll still be around waiters, checkroom girl, washroom attendant.
We'll find it.
Speaker 2 (33:33):
Oh, we will bring So.
Speaker 3 (33:34):
If I have to go over the hair brushes in
the dressing room one by one for.
Speaker 2 (33:37):
Three red hair, I lemma kill the lights. I'll be
right with you.
Speaker 3 (33:40):
Hey, don't forget the switch, the one over the sink
in the bathroom. Come on, Quinn's time is running out.
Speaker 2 (33:47):
In a minute.
Speaker 3 (33:50):
Is anything wrong?
Speaker 2 (33:53):
I don't know work. Would I find a check.
Speaker 3 (34:00):
To Stephen Graves for twelve thousand dollars signed by Arthur Holmes?
Speaker 2 (34:06):
And look, I stamped returned no funds?
Speaker 3 (34:09):
Where did you find it?
Speaker 2 (34:10):
In the dry bottom of the tub?
Speaker 3 (34:12):
How did you ever get there?
Speaker 2 (34:13):
Just one way? When I came here tonight the first
time I did it. Why don't you see when I
pulled the cash box out and opened it, the check
must have slipped out of the tub without my noticing it.
Speaker 3 (34:24):
Ah.
Speaker 2 (34:25):
And then the spell of Holmes came our kittery cigar smoker,
maybe to ask Graves not to prosecute on a bad check,
to stall for time. Graves went to find the check
and it couldn't because it was on the other side
of the wall in his bathteb and Holmes thought he
was trying to put something over on him.
Speaker 3 (34:45):
And do you think Holmes shot him? Killed him for
twelve thousand dollars.
Speaker 2 (34:51):
It's been done before.
Speaker 3 (34:52):
And what about our redhead O?
Speaker 2 (34:54):
Bricky is the man that's gotta be.
Speaker 3 (34:56):
I think it's the woman. We'll have to split up.
Speaker 2 (35:00):
No, let's do it together the way we start. It's
too late.
Speaker 3 (35:03):
We can't follow them one at a time. Our deadlines
at down, Quinn, and we've got less than three hours
for the bus to Glenforce, the last bus. Remember that
it's the last bus for you and for me.
Speaker 2 (35:16):
Too, and then we'll be saying good bye Bricky.
Speaker 3 (35:21):
Yes, Quinn, good bye till dawn. We went down into
the empty streets without talking to others, to each other again,
and I went one way and Quinn went the other.
(35:41):
In ten minutes, there were blocks apart, maybe miles, but
it seemed to me that I was still at his side,
still with him, as he finally found an all night
drug store and went back into a booth. I know
he dial all the alpha Holmeses in the book and
talked to a lot of angry, sleepy people, and then
he find the right one, the author Holmes. We wanted
(36:05):
What would Quinn do then? What would he say? What
would happen?
Speaker 2 (36:20):
Hello? Yes, is this mister Arthur Holmes? Who is this
or mister Holmes? You don't know me?
Speaker 9 (36:27):
Who is this that wants to speak to mister Holmes?
Speaker 2 (36:30):
The name isn't known to you, mister Holmes.
Speaker 9 (36:32):
What makes you think this is mister Holmes? And are
you aware that it's almost four o'clock in the morning.
What do you want?
Speaker 2 (36:40):
I have a check here that belongs to mister Holmes.
Will you let me talk to him?
Speaker 9 (36:45):
You're speaking to him.
Speaker 2 (36:47):
It's made out to Stephen Grays and I have it
right here in my hand.
Speaker 9 (36:50):
Where did you find it?
Speaker 2 (36:52):
I found it on the seat of a taxi. Must
have slipped out of someone's wallet.
Speaker 9 (36:55):
Who when you find it?
Speaker 2 (36:57):
No one? Just me by myself.
Speaker 9 (37:00):
Whom did you show it to afterwards?
Speaker 2 (37:02):
No one who's with him now? No one to swear.
Speaker 9 (37:06):
And you called because you thought I might want it back?
Speaker 2 (37:10):
That's right? Shall I hang up? Mister Holmes?
Speaker 9 (37:15):
Put in another mikele.
Speaker 2 (37:19):
Tell me what's your name? Quinn Williams?
Speaker 9 (37:23):
Tell me something about yourself.
Speaker 2 (37:25):
What do you do. Are you a married man? No?
I'm single. I live by myself a roommates. Nobody stick
the lone wolf.
Speaker 9 (37:34):
I'd like to see that check Quinn. Maybe I can do.
Speaker 2 (37:37):
Something for you fair enough.
Speaker 9 (37:38):
That's a little bark called Owen's down on fifty first.
Speaker 2 (37:41):
You know it. I know where it is.
Speaker 9 (37:43):
It'll take me about fifteen minutes to get pressed and
get down there. It's fifteen minutes. Good for you.
Speaker 2 (37:48):
It's just part of mister Holmes.
Speaker 9 (37:49):
I'll see you there.
Speaker 2 (37:52):
You're a cagey boy, mister Holmes. But you swallowed.
Speaker 14 (37:58):
Oh yeah, over here in the boot.
Speaker 2 (38:11):
Oh good eating, mister Holmes. Good eating. Sit down, won't you? Yeah?
Oh will? You're right on time? Sure, so are you.
There's a drink for you. I had to order it
heads so i'd be allowed to stay in here. It's
past closing time. Thanks. What's the matter is then? Nothing?
(38:36):
It just be funny. That's all funny and kind of corny.
If if you'd slipped a little something into this take mine,
then I haven't put it to my mouth yet. I
think I will h bottoms up, bottoms up my cars
(39:01):
around the corner. Would you rather talk about it there? Yeah?
I would. I think we ought to be alone. That's easy,
so we can be alone. That's not driving pull up.
(39:26):
I just thought we'd coast the bit. We can't sit
talking at the curve at this hour. We'll have a
cop down on us, sticking his nose into the ky
what's wrong with that? I don't know, do you? I
was asking you, however, if you want to pull up
(39:48):
mm the East River a mighty mysterious place this time
of day. We'll pretty close to the edge, aren't you
The wheels are blocked? Sure? Not nervous? I oh, I'm
not now about that check. I didn't find that check
in a cab, mister Holmes. I found it in Stephen
(40:12):
Graves's house, where he's lying right now on the floor dead.
Steve was dead, and your cigar is still in the
room with him, queued to a pop a corona like
the one you're smoking right now. You should have taken
it with you, mister Holmes, after you'd killed him. You
seem to know a good deal about this, a little,
(40:35):
just enough to know who the killer is. I feel
as sorry for you. I didn't know you were as
young as you are.
Speaker 9 (40:45):
Of the h.
Speaker 2 (40:49):
What have I What have I got to do with it?
You're having a lot of trouble with your eyes, aren't you?
Lights on the dashboard have got rings around them, haven't
they like big soap bubbled? What are you talking about? It?
Say you talked too much. You've talked yourself into the grave.
(41:09):
I would have believed you about finding that check in
a taxi. You would have gone to sleep in the car,
and when you woke up you wouldn't have the check
on you anymore. But you'd have had a ten dollar
bill in your pocket to sugarcoat the experience. Head weighs
too much? Doesn't it too heavy for your neck? My head?
You should have stuck to your own drinks. Son, You
(41:32):
were suspicious, but not suspicious enough. You took the wrong glass.
Speaker 13 (41:39):
Me.
Speaker 2 (41:39):
I'm a chess player. You know what chess is? Figuring
out your opponent's moved before he makes it. That's a
funny thing. Wear My head are a solid rock. You're
going to sleep here in the car, then you're going
(42:00):
going into the river without a mark on you. But
I'll take the check before I dump you. It's probably
in your shoe. It's about where your type of youngster
would think was a clever hiding place for it.
Speaker 3 (42:11):
Just clear my head and kick.
Speaker 2 (42:19):
Trying to kick out the glass. You haven't the strength
of a kick lass in you. No, it's all over.
That's water in front of us, that even black line,
you say, right over the hubcap can't even move, can you.
(42:43):
That's right? Make a lazy pass with your hand, like
you're brushing away flies. That's about all you're able to
do in a minute. You won't even be able to
do that. I go your eyes down, domb, You won't.
Speaker 11 (43:06):
He won't get away with this myster Brickey knows there
are two of us, not just one.
Speaker 3 (43:25):
And so I walked away from Quinn, and I was
alone again. I'd met him only a few hours before,
and with him, I'd met my past and my home
and everything I loved and wanted. And now I was
alone again, somewhere in this sleeping city. Quinn was after
(43:45):
his man, and I was after my woman, my redhead,
my long stemmed American beauty. The night o'clock, Hurrikee was dead, dead,
but not quite colds in the process of giving up
the ghost. Every other minute, a solitary figure would come
(44:07):
out and walk away, someone who earned a living inside.
This was the five o'clock in the afternoon of the
nightclub workers. This clock goes in the office direction to
that of the rest of the world. And what did
I have to go on? A redhead blackmailer who had
quickly scribbled a note to a man. And that kind
(44:29):
of woman doesn't ordinarily carry around pencil and paper and
a purse. She sends messages with her eyes and her hips.
If she wants a pencil, she's got to borrow it
from the help. Excuse me, huh, what's the matter? If
you work here, don't you I'm in a check room
till something better turns up. Well, I wondered, did my
(44:51):
friend in a light green dress, a redhead, did she
borrow a pencil from you? Tonight? What's the other way around? Honey?
The men take out their pencils and give me names
and addresses and telephone numbers. I got didn't a woman.
I don't even see any woman. Oh, another long day.
Speaker 2 (45:12):
My feet swell up all the time. You want to
throwing up some salt water as hot as you get
stand me.
Speaker 10 (45:18):
Well, my name is Jerry, but don't let the name
stand away.
Speaker 3 (45:23):
I'm looking for my friend a redhead and a light
green dress. Did she borrow a pencil from udinized.
Speaker 2 (45:29):
My end at the bar?
Speaker 10 (45:30):
How about it, Frank Sure Joan Bassett about midnight? She's
always borrowing something and forgetting to give it back. How
that girl forgets?
Speaker 3 (45:40):
That's the way, Jonie is. Do you do you know
where I can find her?
Speaker 10 (45:44):
Try to concord that was the last address, but she's
probably moved by now.
Speaker 3 (45:50):
Thanks, fellow.
Speaker 2 (45:51):
Can't I do anything for you another time?
Speaker 3 (45:54):
Jerry?
Speaker 2 (45:55):
Okay, that's a promise another time?
Speaker 3 (46:08):
What can I do for you? Be friendly? Pops? Say hello?
Speaker 2 (46:11):
You know what? Do you want a room? Wait for?
Speaker 15 (46:15):
What goes?
Speaker 3 (46:16):
My girlfriend got? I want to ru up and tell
her something, you know, Jonny Joan Bassett? Yeah, that's Joan Bassett.
Only we don't have to be so formal.
Speaker 2 (46:24):
She didn't own a Hey, wait a minute, I'll I'll
skip that.
Speaker 3 (46:27):
She don't have to put on no airs with me.
Who's she kidding? I know she's two weeks behind no rents?
Speaker 16 (46:31):
Right?
Speaker 2 (46:32):
Do you know that? Well? Going up?
Speaker 16 (46:34):
Okay, what do you want, Hugh?
Speaker 3 (46:55):
I want to talk to you? Yeah, I'll just stand
out there a minute and tell me what about We've
got a friend in common, you and I.
Speaker 17 (47:02):
It's possible go on this friend's name is Stephen Grave.
Suppose you come in a minute, I'll hear what's on
your mind. Sure, I thought that might do it. Do
you have to lock the door?
Speaker 2 (47:19):
Yeah?
Speaker 3 (47:19):
I think I do. Whatever you think. That's begame with
your name. You can put me down. Is Carolyn Miller?
Speaker 2 (47:26):
All right?
Speaker 3 (47:27):
Carolyn Miller? Now about Stephen Graves? What makes you think
I know him? Stop being polite? You know him? He
mentioned me to you. No, he wasn't doing any mentioning
of anybody. He wasn't doing anything. You've been over to
see him lately, very lately. I just came from there. Now,
(47:49):
how did you find him? I found him dead?
Speaker 2 (47:54):
I see.
Speaker 3 (47:57):
Oh that tap in the kitchen is loose again. Gives
a minute while I tips. I've known we weren't alone
the moment I came into that room, and I knew
that faucet in the kitchen was a signal for a
quick conference. There was my chance. Maybe I had a minute,
maybe only thirty seconds. There was only time for one thing.
(48:17):
The open handbag on the dresser. Nothing there, that's some powder,
usual chunk. And then an unpaid hotel bills for seventeen
dollars and eighty nine cents from this place, the conquered,
no good, worthless, and my time was up. Get something,
screamed at me, to hold on to it, to slip
it inside my stocking, high up and get back into
(48:38):
my chair.
Speaker 16 (48:42):
Well that's done.
Speaker 3 (48:44):
Now Where were we with Stephen Gray?
Speaker 2 (48:48):
Oh?
Speaker 3 (48:48):
Yeah? To go up there alone? Or do you have
somebody with you alone? I don't take my grandmother with
me when I'm visiting to see somebody stop at the
don't tell you. When I found that, cops and people
hanging around, lots of excite, no one knows it. I
found him alone. I had a key to the house
that he'd given me. I went up and there he
was dead. What'd you do?
Speaker 2 (49:11):
Horror?
Speaker 3 (49:12):
Bloody murder and bring everyone down the place. I get
out of there fast and quiet. I don't want to
be mixed up in.
Speaker 18 (49:16):
It, smart girl. And all this happened is a little
while ago. Yeah, nobody knows yip, But two me and you?
Speaker 3 (49:26):
Did you come here alone? All alone? Everything I do
I do alone. I guess I've hit the jackpots. Yeah
you sure have. Baby, You've hit it hard, make it tight, grit,
but you can't make any noise.
Speaker 2 (49:41):
It's don't worry about that.
Speaker 6 (49:43):
Well, miss Carol and Miller, you're in trouble now. So
Stephen Graves is dead and you tell a little.
Speaker 3 (49:49):
Nosy about it? Hunh you wanted the details, all right?
You can have him. You seem to have known him
pretty well. Maybe he told you. Did he did he
tell you about his kid brother who marya tabern hoo
just back in Boston? They tell you what that did
with the fine old family name.
Speaker 6 (50:04):
And this girl began asking for money when she came
to New York and agan asking Stephen for money.
Speaker 2 (50:09):
Did he tell you that?
Speaker 3 (50:10):
He paid and paid and finally decided to stop paying.
Speaker 18 (50:13):
So this girl and her friend had to pay him
a little visit tonight to try to persuade him.
Speaker 3 (50:18):
Did he tell you that? Did he tell you what
happened when he couldn't be persuaded?
Speaker 11 (50:24):
No?
Speaker 3 (50:26):
Hm, he didn't tell you that because he wasn't talking
by them.
Speaker 2 (50:31):
But then he was dead. You want to spend the
night at it him?
Speaker 3 (50:34):
Right? Well, what's the plane now?
Speaker 2 (50:37):
Don't you figure we.
Speaker 3 (50:38):
Are not here in the room that's begging for it.
Speaker 13 (50:41):
You don't understand, I don't mean shop chap that kind
of stuff. I mean four flights don't got to be enough.
The three of us get the drinks in a piece.
He goes over to the window to try to open
it for air and the gams.
Speaker 3 (50:53):
So she's gonna there's always a follow up for a
little messy.
Speaker 2 (50:56):
Let me take care.
Speaker 3 (50:57):
Yeah, like he took care of the other. But I
told you to throw a scare into.
Speaker 2 (51:01):
Him, say come across, or some scare you throw at him, grit. Yeah,
scared him right out of his skin, right out of
his hand.
Speaker 3 (51:08):
I don't want you to be sewing talk at this time.
Speaker 2 (51:09):
Well, in les blow, I'm step in the closet, backs
up against the dead wall. So she'll never be hed.
There'll be days before they get round the bus and
the door down. Yeah, we'll be far away by the Yeah,
far away.
Speaker 3 (51:21):
Okay, I can pack in ten minutes.
Speaker 2 (51:22):
Les, I'll give you a hand a minute.
Speaker 3 (51:26):
I missed that hotel then it must have fallen somewhere.
Speaker 1 (51:28):
I don't worry about that. He can make up a
no one for you down at the desk. Shall we
get her out of the way first, Yeah.
Speaker 3 (51:37):
Hang Carolyn Miller in the closet. They're comfortable, grift. We
already extra nice to her. Because there's a little fresh
air a minute.
Speaker 2 (51:48):
Grif what's what?
Speaker 3 (51:50):
Do you don't click to have my head examine something? Yes,
I got you both. Plea for good.
Speaker 10 (52:00):
To me?
Speaker 3 (52:00):
She didn't pull my name and andress out of my hat.
Speaker 2 (52:02):
Yeah, pot that gag off her.
Speaker 3 (52:05):
And you try to scream and I'll dent you. I
won't scream nor talk. How do you know I knew him?
How do you know where to find me? I don't
let you have it, and I'm gonna keep let you
have in the ankles. You frocked your hotel bill over there.
I found it lying in the room with him.
Speaker 2 (52:25):
You would have slap you down to the socius.
Speaker 3 (52:27):
You left your Oh she's lying. I swear I caught
my hand against I got back.
Speaker 2 (52:31):
Did you take it out to show him my hand
till me? Did you sure while.
Speaker 3 (52:35):
You're waiting downstairs? It was part of the build of
the show him all bad. I needed money, but I
know I put it back again. I'm almost positive to
sell out. It was for seventeen dollars and eighty nine cents.
It had passed you stamped on it in purple ink.
It even had your room number on it.
Speaker 2 (52:55):
And what did you do with it? Did you bring
it with you?
Speaker 3 (52:57):
I left it where it was. I was afraid to
touch anything.
Speaker 2 (53:04):
We don't have to go back and get it.
Speaker 3 (53:06):
All right, we will, We'll take her with us. It
Does it look like she did it to him? Or
do you want to do in the first place? Griff,
I do it over there. It's my double header to
figure out. It's the only way about this detail by
finishing her off where she started from.
Speaker 2 (53:23):
All right, come on carevon Miller.
Speaker 7 (53:27):
They're going for a little ride.
Speaker 3 (53:41):
And so I went back into Stephen Graves House the
second time that night. They pushed me ahead of them
in the darkness, whispering to each other not to use
any lights yet. Justice Quinn and I had done a
few hours before.
Speaker 2 (53:56):
Or was it a few years before?
Speaker 3 (54:00):
We were in the study and the lights were snapped on,
and the dead man was still on the floor, and
nobody stepped forward to say, brittley is that you?
Speaker 2 (54:13):
No?
Speaker 3 (54:14):
He wasn't there, Quinn wasn't there waiting to help me,
to save me.
Speaker 2 (54:21):
I unders do what we have to do and get our.
Speaker 3 (54:23):
Fans something else first. Well you where is it? Where
is that hotel? Bill? Wait to say your thought? Over
there by him is where I said, and you believed me?
Speaker 15 (54:43):
Then you did?
Speaker 3 (54:44):
He lied high lies.
Speaker 2 (54:48):
What have you got it?
Speaker 3 (54:50):
That's that's your little problem.
Speaker 13 (54:53):
Let me have the gun, get away from the move over.
Say and still, Carolyn Miner and when to come real close.
I want them to worry about whether it's source.
Speaker 3 (55:07):
Sang, yes, Griff, I'll stand still.
Speaker 2 (55:14):
Good girl, Karen, click girl.
Speaker 3 (55:22):
It didn't hurt. It didn't hurt at all. And I
opened my eyes to find out why. Chris stood in
the middle of the room, his face contorted and arms
squeezing heart around his neck, and behind his face was
another face, a faith I knew Quinn's face, the boy
next door fighting for me, fighting to save me.
Speaker 2 (55:41):
Then Quinn went.
Speaker 3 (55:42):
Down, almost tided, and Quinn was on top of punching
out of a cannon again. When John was raking across
the room with an hands, I'm raising her hands.
Speaker 4 (55:49):
I never played.
Speaker 3 (55:50):
Football as a little girl, but on this night.
Speaker 4 (55:52):
I decided of a time to try.
Speaker 2 (56:11):
Ricky Ricky darling. Quinn, are you all right?
Speaker 3 (56:18):
Somebody's bringing shirt bells in my head?
Speaker 2 (56:20):
Oh, you knocked yourself out with a flying tackle, Quinn, queen,
what happened? They Oh, yeah, they're both asleep, Ricky, as
sound as can be.
Speaker 10 (56:33):
All right.
Speaker 3 (56:34):
See you wrap them up nicely.
Speaker 2 (56:36):
Yeah, I had to tear up a few good sheets
to do it. But I don't think mister Graves would
have minded i'd given up, Quinn.
Speaker 3 (56:44):
I thought i'd beat you back here. I'd give enough, Bricky.
Speaker 2 (56:52):
I saw them coming in with you outside on the street.
I was watching from one of the front windows, and
something about the way you were walking between them sort
of stiff told me they had a gun on you.
So I backed up into the bathroom and laid low.
Speaker 3 (57:05):
Yeah, the ones, Quinn, they did it, and we can
go now. It's a quarter to six. We can catch
that gust for home.
Speaker 2 (57:12):
There's one more thing to be done, Ricky. It's only
take a minute, and then you and I aren't gonna
have any more to worry about it. Is this a
police I want to report on murder quin Stephen Graves
in his home on East seventy first Street, the two
(57:35):
people tied up in the same room with the body
and the other killers. You'll find a special delivery letter
in the desk from Graves's younger brother, and that'll tell
you the reason for the killing. What Oh, this isn't
any rib I wish you was me. I'm just a
guy who happened to be passing by.
Speaker 3 (57:56):
We can take their car. He left his keys in it.
Speaker 15 (57:58):
Come on, queen, hurry, we will make it.
Speaker 2 (58:15):
Don't you worry, Bricky, I'm not worried up.
Speaker 3 (58:18):
I know we will. What happened to you tonight? Did
you find homes?
Speaker 2 (58:23):
Yeah? And and he tried to kill me, quinn. It
was your name that saved me, Brickie. I called out
your name and told him you were in on this
with me, and he changed his mind in a hurry, and.
Speaker 3 (58:37):
We saved each other.
Speaker 2 (58:39):
That's right.
Speaker 3 (58:40):
What about the check? How did it figure?
Speaker 9 (58:42):
Well?
Speaker 2 (58:43):
Holmes was cut short when he wrote that check, and
Graves got sold and the bank returned it. They talked
it over tonight and it ended up with Graves giving
you another day to raise the money. The reason Holmes
was sogittery was that the check seemed to have disappeared.
You didn't know what Graves might be calling, and of
course Brave wasn't pulling anything with a check lying in
the bottom of his bath ub.
Speaker 3 (59:03):
You told Holmes how it got there?
Speaker 2 (59:05):
Yeah, and look what I've got.
Speaker 3 (59:09):
Two hundred dollars.
Speaker 2 (59:12):
Quinn. No, I didn't steal it. After he decided he
wouldn't kill me, Holmes and I got very chummy.
Speaker 3 (59:20):
He said.
Speaker 2 (59:21):
We both made a mistake in the same night, me
breaking into a safe and him with his bad check.
He slipped me a pill earlier in the evening, and
now he was walking me around and sober me up.
That's when he gave me the money. A nest egg
for me. He said, I could send it back to
him a little at a time. Later on.
Speaker 3 (59:40):
We'll send it back, Quinn.
Speaker 2 (59:43):
Wave Bricky wearing.
Speaker 3 (59:45):
This together antre.
Speaker 2 (59:47):
Yes, Bricky, we are Oh, Quinn.
Speaker 6 (59:50):
We made it.
Speaker 5 (59:51):
We're in time.
Speaker 3 (59:52):
The bus is still there.
Speaker 2 (59:54):
Come on, Bricky, that's gone home.
Speaker 1 (01:00:22):
Thank you Helen Walker and John Deale for your truly
wonderful performances as Bricky and Quinn, and to Lillian Bayer,
Rye Billsbury, Edith Tackner, Buddy Gray and Bill Johnstone, thanks
for your splendid support With this performance. Suspense leaves the
air for a short vacation period.
Speaker 2 (01:00:42):
We will return on Thursday at nine p m. Eastern
Daylight Saving time.
Speaker 1 (01:00:47):
Starting Thursday, July eighth, with an outstanding series of gripping
suspense stories featuring the acting of your favorite stars of
the screen. Watch for the new suspense series starting Thursday,
July eighth. Miss Helen Walker may soon be seen in
My Dear Secretary in Mister John Deal will soon be
seen in Paramount's Abigail Dear Heart. Deadline at Dawn by
(01:01:07):
William Irish was adapted for radio by Irving Ravitch and
was produced and directed by Antonym Leader Blud Gluskin is
our musical director and conductor Lucian Morrowick composes the original scores.
Be sure to watch for the new half hour series
of radios Outstanding Theater Afrails Curse Pain. This is CBS,
the Columbia Broadcasting System
Suspends radios outstanding Peter A. Frills brings you an hour
our full, sixteen minutes of suspense. Good Night, our stars,
Miss Helen Walker and mister John Beale. Our Story Deadline
(00:36):
at Dawn by William Irish are suspense play produced.
Speaker 2 (00:40):
And directed by Anton M. Leader.
Speaker 1 (00:48):
If you've ever been alone in a strange, big city,
you know the haunting loneliness of it, and you know
how the sight of a familiar face, the sound of
a familiar voice can lift your spirits high. Even a
stranger who comes from your hometown becomes a long lost
friend because he brings with him a breath of home,
a flood of memories. That was the emotion that drew
(01:08):
Brickie Coleman and Quinn Williams together. But their meeting wasn't
the joyful, happy kind, but it was the beginning of
longing and fear and danger. And now, with the performances
of Helen Walker as Brickie Coleman and John Deal as
Quinn Williams, and with William Irish's great story Deadline at Dawn,
(01:29):
we again hope to keep you in.
Speaker 3 (01:31):
Suspeng Until I met him, men were just tink dance
(01:57):
tickets to me. They were just two half since worth
a commission on the dime. Here's a feat that kept
crowding mine. All over the map, all over the floor,
all over the night. There were blank faces that could
steer me anyway they wanted until their five minutes were up.
Because I was a New York taxi dancer until I
(02:19):
met him, a girl from a small town caught and
held fast in the big city, with all her dreams
forgotten and all her hopes gone. I'm not caring anymore,
not caring at all until I met him. They always
did the lights for the last dance, just to make
(02:42):
the customers feel sentimental.
Speaker 2 (02:43):
About it all.
Speaker 3 (02:46):
At one in the morning, I was so again for
the day. I put on my cold go out the
side door, walk past the sad sacks that thought they
were wolves and loitered on the sidewalk, and then I'd
begin the twenty blocks.
Speaker 2 (03:00):
The home.
Speaker 3 (03:03):
Home was a filthy old brown stone down near the river.
The long, smelly hallway and a room to the back
beside the closet, a room with a bat of valise,
an old army cost that was home go a plice.
There was a place where I could get out of
my shoes and make some cop.
Speaker 2 (03:24):
You left your door open, so I left.
Speaker 3 (03:28):
My door ocot. Did you think that was an invitation
to walk in?
Speaker 2 (03:32):
You better close it now?
Speaker 3 (03:33):
Hey, listen here please all right, you're a burglar. You
won't find anything. The rats got here first.
Speaker 2 (03:47):
I am ay.
Speaker 3 (03:49):
Oh, then you're a very smart one. What are you
looking for? Coffee grounds?
Speaker 2 (03:53):
I wasn't looking for anything.
Speaker 3 (03:55):
Oh then why don't you go? Please find a nice,
rich old lady to rob.
Speaker 2 (03:59):
I need a place to stay for a while. I
thought maybe you would let me.
Speaker 4 (04:05):
What stay here?
Speaker 3 (04:07):
Oh, I don't hand out favors. You're nothing to me,
I know, just a hunt.
Speaker 2 (04:11):
You my head. The way you were looking at me,
I thought I could come here for help.
Speaker 3 (04:18):
The way I was looked. I've never seen you before
in my life.
Speaker 2 (04:23):
Well, you were looking straight at me at the dance
wall about an hour ago.
Speaker 3 (04:27):
You mean you were at the Cinderella Ballroom tonight.
Speaker 2 (04:30):
Don't you remember me?
Speaker 3 (04:32):
No, that's funny, not funny at all. You're all look
the same to me, namely horrible.
Speaker 2 (04:40):
I guess it's my mistake. I was sure you seem so.
Speaker 3 (04:47):
So nice, did I? Yeah, that's because I was thinking
of home. I always do that on the job. Makes
the night go faster.
Speaker 2 (04:56):
I guess I don't know what you mean.
Speaker 3 (04:59):
What'd you do?
Speaker 2 (05:00):
No, the man at the door gave me your address
for a dollar.
Speaker 3 (05:05):
Oh he did, did he?
Speaker 2 (05:07):
I wanted to get off the streets this time of night.
The cops are curious. I thought I saw one of
them following me, so I beat it down this hall
to hide. That's when I find your door open. And
you picked a good.
Speaker 3 (05:17):
Place for hiding. Nobody ever comes here with the landlady
once a month.
Speaker 2 (05:21):
Please let me stay awhile? Please?
Speaker 3 (05:26):
What's your name?
Speaker 2 (05:28):
Quinn Williams?
Speaker 3 (05:29):
Quinn? Yeah, never heard that name before.
Speaker 2 (05:31):
It used to be my mother's before she got married.
I see, what do you say?
Speaker 3 (05:39):
You want some coffee?
Speaker 5 (05:40):
Quinn?
Speaker 2 (05:41):
Thanks?
Speaker 3 (05:43):
Thanks, but get this straight. One cup of coffee and
nothing more. No sugar goes with it. You give me
one blink too many coffee.
Speaker 2 (05:51):
I understand a man can tell by looking at a
girl whether she means one thing or another.
Speaker 3 (05:58):
I'd be surprised how many of them ought to have
an off titian. I know, give me a match for
the oven.
Speaker 2 (06:05):
Here you are.
Speaker 3 (06:11):
I got the oven list and reached out on some
cups and sauces and watched him.
Speaker 2 (06:16):
Not that I was worried.
Speaker 3 (06:18):
I wouldn't have closed the door if I hadn't thought
I could handle him. It was only that he was
so young and his face was so tight and strained.
He didn't beat by the city. Must have been like
taking candy away from a baby. He trusted me because
I'd smiled at him while I was dancing, and he
(06:41):
thought that smile was to him. I wish it was
all of a sudden because he was different. Carbly won't
be long.
Speaker 2 (06:53):
I'm in no hurry.
Speaker 3 (06:56):
Pretty young for birgh, aren't you?
Speaker 2 (06:58):
Doesn't take much training.
Speaker 3 (07:01):
Where'd you come from? And how did it happen?
Speaker 2 (07:04):
Oh? I come from a little town. There's nothing much.
Speaker 3 (07:08):
But I like it myself.
Speaker 2 (07:12):
From my place is glen Falls. I will what's yours?
What's the matter?
Speaker 3 (07:19):
Nothing?
Speaker 2 (07:20):
Oh? I thought I said something wrong.
Speaker 3 (07:21):
No, you said something right.
Speaker 6 (07:23):
It's crazy, a crazy coincidence.
Speaker 3 (07:25):
But I come from glen Falls too.
Speaker 2 (07:29):
That's that's amazing.
Speaker 3 (07:30):
You know it is?
Speaker 2 (07:31):
What street did you live on? And there's nothing near
Pine Street? The second house down between Pine.
Speaker 3 (07:35):
Or when I lived just across the street from you?
Speaker 2 (07:41):
How is it we never met.
Speaker 3 (07:42):
I don't know. I came here five years ago.
Speaker 2 (07:45):
Oh, I've been here a year. You must have come
to New York before we moved in.
Speaker 3 (07:48):
Sure, Wait a minute. Have you got a brother with
a lot of freckles?
Speaker 2 (07:53):
Yeah, Johnny, he's just a kid.
Speaker 3 (07:54):
About eighteen night this has been writing to me about
a new boyfriend, a boy named Williams. How perfectly he
is except for the person and Nicoles Delware are all
So you're the boy next door?
Speaker 2 (08:08):
What are we? We'd probably known each other very well
if you'd stayed at home.
Speaker 3 (08:17):
I know.
Speaker 2 (08:19):
I wish you had stayed.
Speaker 3 (08:22):
I do too.
Speaker 2 (08:24):
What's your name?
Speaker 3 (08:26):
Ruth Coleman. Everybody at home calls me Bricky. They started
it because I do. You have a feel that you
want to go back. Every days the bus leaves New
York every morning at six. I know I haven't quiet.
I've got the fire sewed up in my mattress.
Speaker 2 (08:48):
Haven't you gone?
Speaker 3 (08:50):
Because my mother thinks I'm dancing in a Broadway show.
Because I'd be too ashamed, because it's so hard.
Speaker 7 (08:57):
To go back.
Speaker 2 (08:58):
You ought to go, Bricky this morning at six o'clock.
You want to go back?
Speaker 3 (09:04):
Hard? Going back alone? If someone could come with me.
Would you come home to Quinn.
Speaker 2 (09:13):
Long Brickie.
Speaker 3 (09:14):
You want to escape from the city, don't you just
like me? You want to go back? You should do,
then come with me. If it's a sair you're worried about.
I've got enough for both of us, including a good
dinner in Chicago, anything for the boy next door.
Speaker 2 (09:25):
Quinn makes Breaky. It's too late. The police will be
looking for me around eight o'clock this morning.
Speaker 3 (09:31):
Oh god, I forgot. How long have you been a burglar?
Speaker 2 (09:40):
About three hours?
Speaker 3 (09:42):
Three hours?
Speaker 2 (09:44):
I did it tonight for the first time, so you see, Breakie,
it's a little too late for me to go back.
I've missed the bus or three hours.
Speaker 3 (09:57):
Coffee is ready, Quinn, huh? Good cream and sugar?
Speaker 2 (10:02):
No thanks, Fly?
Speaker 3 (10:12):
Was it easy?
Speaker 2 (10:15):
Very easy?
Speaker 3 (10:16):
Why'd you do that?
Speaker 2 (10:18):
You'll do anything when you've gone for four days without eating. Oh,
but it's funny. After I'd done it, I went straight
to the best restaurant in town. I looked at the
menu and got ready to order everything on it, two
helpings of everything. But I couldn't eat it, so I
got it and walked out. That's when I began to
(10:40):
think the cops were trailing me. I'm not used to
being a robber.
Speaker 3 (10:45):
So you still got it all with you.
Speaker 2 (10:49):
Twenty five hundred dollars in cash. Divide it up into
small rolls in all my pockets. You wanna see it now,
do I? But it's there. I can feel it against
my skin all over my body.
Speaker 3 (11:08):
Where did you get it? Quinn Well?
Speaker 2 (11:10):
I was working for an electrician about four months ago.
One day I got a call to go to a
big house on seventy first Street and put a fixture
in the bathroom wall. I had to cut a big
hole in the wall to do it. While I was
doing that, I I ran into wood and I wouldn't
box in the wall. I did my work just beside it.
Speaker 3 (11:29):
And that box.
Speaker 2 (11:31):
That box was the back of a safe. Oh put
it into the wall of a study in the next room.
The part of the safe was good, heavy steel. When
they built it, nobody thought it could be broken into
from the other side through the bathroom, and nobody ever
would have either until an electrician ran into it one
day by mistake.
Speaker 3 (11:51):
But all this happened four months ago.
Speaker 2 (11:54):
Yeah, he said. I brought more tools with me than
I needed that day, and I let some of them
in my back downstairs. He was on a little table
near the front door. And when I got back to
the shop, I found a key in the bag. I
must have brushed it in while I was putting the
tools back after finishing the job. It turned out to
be a key to the front door.
Speaker 3 (12:13):
You didn't return us I didn't.
Speaker 2 (12:16):
You know, I meant to, but right then I forgot
all about it. And when I did remember that I
had the key, I was out of work, hungry and
wanting money badly. So I went back there tonight. I
opened that hole again, pulled the back of the safe out.
(12:38):
I didn't bother with any of the papers or securities.
I just took the cash. The house was empty. The
man who lives there society fell, but the name of
Graves was probably hot on the town. So I just
walked out the front door. HM, seems like ten years ago.
It was only three hours.
Speaker 3 (13:00):
So this bravesman will see the hole in the morning
when he goes in to take a shower, and then
he'll call the police.
Speaker 2 (13:06):
There will be a quick trial and a short one,
but the sentence won't be so short.
Speaker 3 (13:13):
The boy next door, the boy you waved to when
you come in and out of your gate. The grinning
boy next door friendly as a top.
Speaker 2 (13:22):
You go back, Bricky, that's where you belong. It's only
kind of life for you.
Speaker 3 (13:26):
Come with me, Quinn.
Speaker 2 (13:27):
I told you I can't. They've got a long arm.
They'll find me, and I'd rather have him find me
here in the city.
Speaker 3 (13:35):
Have you still got the key, the key you went
in with? Why well, if you can get back in
before he comes home, just in and out long enough
to put the money back. They won't come all the
way to Iowa for you, just for chopping a hole
in the wall. If nothing's been taken. Who want to
go home? At six o'clock this morning? He is If
(13:57):
he's out on the town, he won't be home yet.
Least that's what we'll pray for.
Speaker 2 (14:01):
We we'll go together.
Speaker 3 (14:03):
Now. I wait outside for you, and then we'll get
out of the terminal'll buy our tickets and wait for
the bus. We'll wait for dawn together, Quinn.
Speaker 2 (14:12):
You mean you'd do this with me for.
Speaker 8 (14:14):
The boy next door anytime anything, There was no time
to lose.
Speaker 3 (14:24):
Braves might be coming home any minutes. I got some
money out of my mattress, and we ran out of
into the cold empty street, just as the cab croused by.
We hied into it and told him to take us
to seventy first Street and to take us back.
Speaker 7 (14:39):
And great, body's always in a hurry.
Speaker 3 (14:42):
What's your hurry? A night's young? Yeah, never mind the conversation,
Joel drives. The customer is always right.
Speaker 2 (14:54):
I just remembered what. I can't pay for this cab
unless us some of our capital.
Speaker 3 (15:00):
I don't care what you use now, just so it's money,
don't worry about it.
Speaker 9 (15:04):
You'll get paid.
Speaker 3 (15:05):
I'll pay him. We don't want to use any of
our capital, not a single penny. Dog got to go
back breaking.
Speaker 2 (15:11):
When we get out of this, when we get back home,
i'll thank you. Then I'll find a way to thank you.
Speaker 3 (15:19):
That's any face street, any special number.
Speaker 2 (15:22):
No, just let us out here on the corner.
Speaker 10 (15:30):
That's ninety cents, and I can break a fifty if
I have to.
Speaker 3 (15:34):
He's ninety cents, and here's a dime.
Speaker 2 (15:37):
Have fun. Well, here we are, where's the house across
(15:57):
the street and up a little wait here? All right,
don't come any closer than this. I'll be back in
no time. Don't be frightening Brookie.
Speaker 3 (16:06):
Don't take any chances, Quinn. If you see any lights,
if it looks as if he's coming back already, don't
go all the way in. Just throw the money inside the.
Speaker 7 (16:14):
Door a goodbye, then goodbye, Quinn.
Speaker 3 (16:18):
Hurry back. I waited for him there and the chilly
knight from the dark empty street. Why I knew better.
New York had taught me one thing, and that was
never to be a sucker for a man. But then
(16:38):
this was no man. This was the boy lived across
from me on Anderson Street in Glen Falls, Iowa. The
boy had come here to do big things, to lick
the town, and instead he'd been licked. Instead, he was
hiding in the dark, sneaking along the streets, helpless, the
(17:00):
boy next door. Then I suddenly clutched back into a doorway.
A patrolman was coming on a tour of beauty. He
stopped mammy not ten yards away, but his back was
to me, and his hand was opening a call box.
Speaker 2 (17:18):
Where I should reporting in to thirty five am. How's
the rummy game going? And another thing side quiet as curach.
Speaker 3 (17:29):
He finished his call, closed the box and went on
down the street. And he turned a corner and disappeared,
and I breathed again. He'd been right. So it rose
quiet as a church. And that was wrong because Quinn
(17:49):
should have been back long ago.
Speaker 2 (17:55):
Ricky, Ricky, tell me, Quinn, what is it? What is it?
What do you say now?
Speaker 3 (18:00):
Bout what's happened in there?
Speaker 2 (18:01):
He's been killed. He's dead, he's lying in there dead,
the man who lives.
Speaker 3 (18:06):
Yeah, mister Graves, what you Quinn? Did you do it
the first time you were in there?
Speaker 2 (18:16):
And I swear I didn't breaky. I only get the money.
He wasn't even there. He must have come back since I.
Speaker 3 (18:22):
Knew you didn't, Quinn. I knew even though I asked.
Speaker 2 (18:27):
Go down to the terminal, get your ticket and climb
on that bus and forget where you ever met. Go on,
break you beat it before they find out without you,
don't you see now it's murder they'll charge me with
They'll find the bathroom, fix your temper with the places
electricsen and the mean, they'll they'll naturally think, oh, don't
you see it's too late.
Speaker 3 (18:44):
Breaking never too late. Don't you know that up until
the last second of the last minute of the last star.
What do you mean we'll go back in there and
see if we can figure it out. It's our only hope.
We're fighting for our lives, Quinn, for our lives, and
we have until six o'clock this morning to win out
of it.
Speaker 2 (19:01):
All right, Chap, come.
Speaker 3 (19:05):
On, and so very slowly we went together into the
place where death was. The door closed on our backs,
and we felt our way down a long and narrow hallway.
Speaker 2 (19:20):
He's upstairs. I didn't want any lights on down here.
Just hang on to my sleeve. I'll lead the way,
all right.
Speaker 3 (19:27):
We went forward in a thought of swimming darkness that
was almost liquid. It was so dense. I could feel
the muscles in his arms shivering. But he was brave,
not afraid. He was going into it, not running our
way from it.
Speaker 2 (19:42):
A step here, the stair creaked.
Speaker 3 (19:46):
Under our waist. I wondered if there were anyone else
in the house, anyone's still alive. Suppose someone slept through
the murder, won't be awakened any moment by us. Okay,
we're on the second floor now. I smell the aroma
of leather and woodwork. I smelled the last lingering trace
(20:10):
of a cigar. I smelled powder, a harsh, deadly powder. And
then I thought, I thought, I thought I'd smelled something sweet,
something very sweet.
Speaker 2 (20:25):
All right.
Speaker 3 (20:28):
They say you can't smell a recent death, but I
could smell of stillness, and a presence in its effort
was more than just a gainsteness.
Speaker 2 (20:38):
Get your eyes ready, Here go the lights.
Speaker 3 (20:43):
The dead man lay in the middle of the study.
His face was all out of focus. The lines that
had been laugh lines were creases now. The mouth that
had been either strong or weak was just a gap now,
a place where the face was opened. The eyes, neither
kindly or cruel, was just glossy, lifeless insects. So this
(21:07):
was the dead man, and we'd come for his secret.
Speaker 2 (21:11):
This is it, bricky, Yes, this is it?
Speaker 9 (21:17):
Now?
Speaker 2 (21:17):
What do we do?
Speaker 3 (21:20):
Shouldn't we close it? They seem to be watching.
Speaker 2 (21:26):
No, don't touch him. I don't know how to do anyway.
Speaker 3 (21:31):
He's he's stilling his toxico. It couldn't have been home
very long. Can you tell what it was done with?
Speaker 10 (21:40):
No?
Speaker 2 (21:40):
I have done Buttony's jacket, all right, Go ahead. There
is must have been a gun. Yeah, a bullet is
round and frizzled. A night would have made a.
Speaker 3 (21:55):
Snitch and we could be sure no one else was
in the house, or they would have heard.
Speaker 2 (21:58):
It go off, and the killer must have taken the
gun away. There's no sign of one lying around.
Speaker 3 (22:01):
We didn't do it himself.
Speaker 2 (22:02):
It can't be suicide, right, No, we've got look in
his pockets. Yes, I'll do it. You look the things
over as I hand them to you, all right, quinn
I'll start up here. The breast pocket is the highest
pocket in anybody's suit. His handkerchief.
Speaker 3 (22:20):
Luck when the bullet went through this the way it's folded,
it just made one little hole. When you open it up,
it makes three separate holes, like when you cut papers
and make them into patterns.
Speaker 2 (22:37):
The one on the left side is empty. The right
hand pocket empty too.
Speaker 3 (22:43):
Try inside the jacket, Yeah, tick out everything, no matter
what it is. Cigarette case, silver tiffanies three cigarettes in it.
The wallet, two fires in a single, two tickets stops
from tonight show the Alasko see one hundred and twelve,
(23:04):
one hundred and fourteen, So we know where he was
from eight thirty to eleven, and anything else. Business cards,
Stafford Holmes, Inglesby, whoever they are, Oh a snapshot girl
in writing Charles.
Speaker 2 (23:18):
Let's see that.
Speaker 11 (23:20):
Yeah, it's the same ones in the silver frame over
there on the desk to Steven with love from Barbara.
Speaker 3 (23:27):
And she didn't do it. If she had, she wouldn't
be there on his desk anymore. Just the silver frame maybe,
but not her anymore. That's common sense.
Speaker 2 (23:32):
All right, Let's go on.
Speaker 5 (23:35):
I'd like to lift him a little go ahead, left
rear in the trousers. Nothing right rare, spare handkerchief, left
side nothing, right side, match boarders loose change.
Speaker 2 (24:03):
La key.
Speaker 3 (24:06):
That's it't much help.
Speaker 2 (24:10):
Do we know what we're doing? Bricky? I don't know.
Speaker 3 (24:16):
Quinn a man who was a cigarette smoker, and we
found that case in his pocket. Would he go into
cigars too?
Speaker 2 (24:25):
Maybe some people smoke.
Speaker 3 (24:26):
So, but would he smoke two cigars alone by himself?
He could look Quinn. Two bucks in this tray, yeah,
and the.
Speaker 2 (24:34):
Trays between two chairs facing each other, one cigar and
one notch of the tray, the other one around on
the other side from the two people.
Speaker 3 (24:43):
Quinn. Two men.
Speaker 2 (24:44):
They were having an argument. One of them has worked
up about something. You see, this buddy is smooth at
the mouth end. And look at this one chewed two
ribbons chewed to a fringe. That tells it.
Speaker 3 (24:53):
Which is whitch who was calm and was steamed up?
And who was the other man with Graves?
Speaker 2 (25:00):
Oh, Quinn, here's something must have fallen out of his pocket.
He was probably sitting on it.
Speaker 3 (25:06):
Fine, another book of matches?
Speaker 2 (25:08):
That just another one. Graves had some on him. So
this is the other man.
Speaker 3 (25:13):
And did he leave his name on it?
Speaker 2 (25:15):
No? But he was excited. Look how many matches he
used up just when that once agard.
Speaker 3 (25:19):
The folder could have been half used up before he
began brave.
Speaker 2 (25:22):
He'll take this. What does it tell you?
Speaker 3 (25:24):
He tells me the h Dawson's.
Speaker 2 (25:27):
Gun, not the cover inside.
Speaker 3 (25:31):
I don't know what he's driving here.
Speaker 2 (25:34):
Yeah, take my matches and turn one off. Let's try
it all right, Okay, blow it out. Can you see
what you did?
Speaker 3 (25:46):
No?
Speaker 2 (25:47):
You tore the match from the right hand side, didn't you. Yeah,
that's what everybody does. They start on the outside on
the right and work their way over to the left.
But this porter was worked in reverse.
Speaker 11 (25:57):
Now do you see the mare is sitting in the
chair facing Graves was left handed.
Speaker 3 (26:04):
I see we're making progress, are we, Quinn?
Speaker 12 (26:08):
Of course we are We know this man was rattled
about something, that he whittled away fifteen matches to one
cigar and then mangled it to ribbons between his teeth,
that he was probably on bad terms with grays, and
that he's left handed.
Speaker 3 (26:20):
I'm only you've missed something. What the matches belong to?
A woman?
Speaker 2 (26:26):
A woman? A woman chopped that cigar pieces.
Speaker 3 (26:29):
Smell the folder. What do you get?
Speaker 2 (26:33):
It's soft of the way matches.
Speaker 3 (26:34):
Always give that a minute to clear away. That's the
stronger of the two. It topped the other.
Speaker 2 (26:39):
Now, okay, the film, isn't it.
Speaker 3 (26:44):
Yeah, it's been carried around all day in a handbag,
a handbag of stinks of the film. I noticed it
in the dark and we were coming in. There's been
a woman in this room tonight.
Speaker 2 (26:55):
Well it gives us two of them, a man and
a woman, and they weren't here together. There are only
two chairs, one for graves and the other one for
each of his business.
Speaker 3 (27:03):
Who was the last to go the man of the woman, I.
Speaker 2 (27:06):
Don't know, but we're started. Look, we've dug up in half.
Speaker 3 (27:09):
An hour two unidentified people in the biggest city in
the world.
Speaker 2 (27:15):
Ah, you're right, it's.
Speaker 3 (27:18):
No use oh, even so we can't give up.
Speaker 2 (27:21):
It's no use. And what's more, I'm yellow, Bricky. Let's
give it up.
Speaker 3 (27:27):
You're not yellow, Quinn, or I wouldn't be up here
in this room with deal.
Speaker 2 (27:32):
I'd better tell you this. Well I can, Bricky what
I love you.
Speaker 3 (27:42):
It's three o'clock, Quinn, and we have to six three hours, Bricky,
save it, Quinn. Save it for the bus. And we're
on our way home.
Speaker 2 (27:55):
All right, But I don't know what to do next
to you?
Speaker 3 (28:01):
No, I don't.
Speaker 2 (28:04):
What's that?
Speaker 1 (28:15):
In tonight's full Hour of Suspense, Helen Walker and John
Beale co star in Deadline at Dawn by William Irish.
Tonight's study in Starshpence, Just the Moment, we will return
(28:36):
with Act two of Suspense. This is CBS the Columbia
Broadcasting System and now back to our Hollywood soundstage and
Act two of Deadline at Dawn, co starring Miss Helen
(28:58):
Walker as Brickie Coleman and mister John Beale as Queen
Williams in radios.
Speaker 2 (29:04):
Outstanding, Hear a Frill Pen.
Speaker 1 (29:19):
All the emotions of a lifetime have been crowded into
one night for Rickie Coleman and Queen Williams and Dawn
is a fast approaching deadline which they must meet the
bus which will take them to home, and safety seems
remote and unattainable as they stand now over the body
of a dead man in the quiet apartment, knowing that
(29:39):
they must find his murderer or stand incriminated for the
crime themselves. And suddenly a terrifying sound comes to them.
Speaker 2 (29:49):
When is it, bricky one into.
Speaker 3 (29:51):
Sounds like a peas lamb?
Speaker 2 (29:53):
The front doorman, Yes, women, if there's a bottle over
there against the wall, all the cords, ask pick my drawer.
Speaker 3 (30:03):
What should we do?
Speaker 2 (30:05):
I'll answer, don't be carefully.
Speaker 3 (30:07):
To have the police here.
Speaker 2 (30:07):
Don't know.
Speaker 7 (30:08):
It's not his voice.
Speaker 2 (30:09):
I'll tuck Lord, I'll pretend I'm here, say, oh.
Speaker 4 (30:18):
Darling, this is Barbara.
Speaker 3 (30:21):
I had to speak to you.
Speaker 2 (30:22):
It's not a plot.
Speaker 9 (30:23):
I ain't really liked this before.
Speaker 2 (30:25):
I know, maybe if.
Speaker 3 (30:27):
We hadn't gone there to that talking place, it wouldn't
have happened.
Speaker 2 (30:31):
No, who was she?
Speaker 3 (30:34):
The poor redhead and the light green grass?
Speaker 2 (30:37):
I don't know you told me that before?
Speaker 13 (30:41):
Then?
Speaker 3 (30:41):
Why did you said the villagy be hand?
Speaker 2 (30:43):
I saw a build you know, did you?
Speaker 3 (30:46):
And then you couldn't wait to see me to my
door and get me off your hands? What happened, Steve?
Did this woman come by to see you afterwards? Is
that why you wanted to get rid of me?
Speaker 2 (30:58):
No, Barbara stee He sounds so far away?
Speaker 3 (31:04):
Is that the telephone?
Speaker 2 (31:07):
Or is it you? Poor collection?
Speaker 3 (31:10):
You sounds so cagy? Is it's someone over there?
Speaker 2 (31:13):
Now?
Speaker 9 (31:14):
Can you talk louder?
Speaker 2 (31:16):
I'm sorry?
Speaker 4 (31:17):
What's going on there?
Speaker 3 (31:19):
Is it? Stephen?
Speaker 2 (31:19):
Isn't it? She's catching on?
Speaker 3 (31:21):
I'm take away from the north piece and turning my way.
She'll good. Come on, I'm getting tired of waiting. How
much longer are you gonna stand there talking? I'm sorry, Stephen,
forgive me. I didn't know. You can hang up now.
Speaker 2 (31:44):
I feel like a heel.
Speaker 3 (31:45):
We'll stop if we don't have time.
Speaker 2 (31:47):
The parakeet that's a nightclub, isn't it.
Speaker 3 (31:50):
It's on fifty fourth Streets. A woman slipped him a
note clean? Oh woman?
Speaker 2 (31:54):
Could be Do you think he tore it up? Or
maybe not? Maybe you wanted to have a good look
at it when he got home alone.
Speaker 3 (31:59):
Let's look again.
Speaker 2 (32:00):
So I went through those pockets, break carefully from sure,
it's nothing you might.
Speaker 3 (32:03):
Have missed something, Quinn. Turn him over again.
Speaker 2 (32:08):
All right, m nothing, nothing at all. Shall we go
through the desk. Wait a minute, crun.
Speaker 3 (32:21):
Your eyes over him again.
Speaker 2 (32:24):
I don't see a thing.
Speaker 3 (32:26):
He's very well dressed, and yet he isn't that a
hole in the heel of his sock. They're just showing
over the shoe.
Speaker 2 (32:35):
That's funny.
Speaker 3 (32:37):
Take his shoe off, Quinn.
Speaker 2 (32:41):
Okay. Of course he didn't want Bob to see it,
so he hid it here and he could be alone.
Speaker 3 (32:50):
He never was alone.
Speaker 2 (32:52):
Just a scroll on, mister Grays. I'd like to speak
to you in five it after you've taken the young
lady home. And I don't mean summer the time, I
mean tonight. I wouldn't want to be disappointed, that's all.
(33:12):
It isn't sign a woman of the matches. It sounds
like a shakedown.
Speaker 3 (33:17):
You mean black mail.
Speaker 2 (33:17):
That's right. He'd have to pay attention to a note
like this.
Speaker 3 (33:20):
And we're going nightclubbing, my boy. We'll visit the paraquet.
Speaker 2 (33:23):
It'll be closing by now.
Speaker 3 (33:24):
You must have been seen there. A tall redhead and
a light green dress will shot with the people who
work there. They'll still be around waiters, checkroom girl, washroom attendant.
We'll find it.
Speaker 2 (33:33):
Oh, we will bring So.
Speaker 3 (33:34):
If I have to go over the hair brushes in
the dressing room one by one for.
Speaker 2 (33:37):
Three red hair, I lemma kill the lights. I'll be
right with you.
Speaker 3 (33:40):
Hey, don't forget the switch, the one over the sink
in the bathroom. Come on, Quinn's time is running out.
Speaker 2 (33:47):
In a minute.
Speaker 3 (33:50):
Is anything wrong?
Speaker 2 (33:53):
I don't know work. Would I find a check.
Speaker 3 (34:00):
To Stephen Graves for twelve thousand dollars signed by Arthur Holmes?
Speaker 2 (34:06):
And look, I stamped returned no funds?
Speaker 3 (34:09):
Where did you find it?
Speaker 2 (34:10):
In the dry bottom of the tub?
Speaker 3 (34:12):
How did you ever get there?
Speaker 2 (34:13):
Just one way? When I came here tonight the first
time I did it. Why don't you see when I
pulled the cash box out and opened it, the check
must have slipped out of the tub without my noticing it.
Speaker 3 (34:24):
Ah.
Speaker 2 (34:25):
And then the spell of Holmes came our kittery cigar smoker,
maybe to ask Graves not to prosecute on a bad check,
to stall for time. Graves went to find the check
and it couldn't because it was on the other side
of the wall in his bathteb and Holmes thought he
was trying to put something over on him.
Speaker 3 (34:45):
And do you think Holmes shot him? Killed him for
twelve thousand dollars.
Speaker 2 (34:51):
It's been done before.
Speaker 3 (34:52):
And what about our redhead O?
Speaker 2 (34:54):
Bricky is the man that's gotta be.
Speaker 3 (34:56):
I think it's the woman. We'll have to split up.
Speaker 2 (35:00):
No, let's do it together the way we start. It's
too late.
Speaker 3 (35:03):
We can't follow them one at a time. Our deadlines
at down, Quinn, and we've got less than three hours
for the bus to Glenforce, the last bus. Remember that
it's the last bus for you and for me.
Speaker 2 (35:16):
Too, and then we'll be saying good bye Bricky.
Speaker 3 (35:21):
Yes, Quinn, good bye till dawn. We went down into
the empty streets without talking to others, to each other again,
and I went one way and Quinn went the other.
(35:41):
In ten minutes, there were blocks apart, maybe miles, but
it seemed to me that I was still at his side,
still with him, as he finally found an all night
drug store and went back into a booth. I know
he dial all the alpha Holmeses in the book and
talked to a lot of angry, sleepy people, and then
he find the right one, the author Holmes. We wanted
(36:05):
What would Quinn do then? What would he say? What
would happen?
Speaker 2 (36:20):
Hello? Yes, is this mister Arthur Holmes? Who is this
or mister Holmes? You don't know me?
Speaker 9 (36:27):
Who is this that wants to speak to mister Holmes?
Speaker 2 (36:30):
The name isn't known to you, mister Holmes.
Speaker 9 (36:32):
What makes you think this is mister Holmes? And are
you aware that it's almost four o'clock in the morning.
What do you want?
Speaker 2 (36:40):
I have a check here that belongs to mister Holmes.
Will you let me talk to him?
Speaker 9 (36:45):
You're speaking to him.
Speaker 2 (36:47):
It's made out to Stephen Grays and I have it
right here in my hand.
Speaker 9 (36:50):
Where did you find it?
Speaker 2 (36:52):
I found it on the seat of a taxi. Must
have slipped out of someone's wallet.
Speaker 9 (36:55):
Who when you find it?
Speaker 2 (36:57):
No one? Just me by myself.
Speaker 9 (37:00):
Whom did you show it to afterwards?
Speaker 2 (37:02):
No one who's with him now? No one to swear.
Speaker 9 (37:06):
And you called because you thought I might want it back?
Speaker 2 (37:10):
That's right? Shall I hang up? Mister Holmes?
Speaker 9 (37:15):
Put in another mikele.
Speaker 2 (37:19):
Tell me what's your name? Quinn Williams?
Speaker 9 (37:23):
Tell me something about yourself.
Speaker 2 (37:25):
What do you do. Are you a married man? No?
I'm single. I live by myself a roommates. Nobody stick
the lone wolf.
Speaker 9 (37:34):
I'd like to see that check Quinn. Maybe I can do.
Speaker 2 (37:37):
Something for you fair enough.
Speaker 9 (37:38):
That's a little bark called Owen's down on fifty first.
Speaker 2 (37:41):
You know it. I know where it is.
Speaker 9 (37:43):
It'll take me about fifteen minutes to get pressed and
get down there. It's fifteen minutes. Good for you.
Speaker 2 (37:48):
It's just part of mister Holmes.
Speaker 9 (37:49):
I'll see you there.
Speaker 2 (37:52):
You're a cagey boy, mister Holmes. But you swallowed.
Speaker 14 (37:58):
Oh yeah, over here in the boot.
Speaker 2 (38:11):
Oh good eating, mister Holmes. Good eating. Sit down, won't you? Yeah?
Oh will? You're right on time? Sure, so are you.
There's a drink for you. I had to order it
heads so i'd be allowed to stay in here. It's
past closing time. Thanks. What's the matter is then? Nothing?
(38:36):
It just be funny. That's all funny and kind of corny.
If if you'd slipped a little something into this take mine,
then I haven't put it to my mouth yet. I
think I will h bottoms up, bottoms up my cars
(39:01):
around the corner. Would you rather talk about it there? Yeah?
I would. I think we ought to be alone. That's easy,
so we can be alone. That's not driving pull up.
(39:26):
I just thought we'd coast the bit. We can't sit
talking at the curve at this hour. We'll have a
cop down on us, sticking his nose into the ky
what's wrong with that? I don't know, do you? I
was asking you, however, if you want to pull up
(39:48):
mm the East River a mighty mysterious place this time
of day. We'll pretty close to the edge, aren't you
The wheels are blocked? Sure? Not nervous? I oh, I'm
not now about that check. I didn't find that check
in a cab, mister Holmes. I found it in Stephen
(40:12):
Graves's house, where he's lying right now on the floor dead.
Steve was dead, and your cigar is still in the
room with him, queued to a pop a corona like
the one you're smoking right now. You should have taken
it with you, mister Holmes, after you'd killed him. You
seem to know a good deal about this, a little,
(40:35):
just enough to know who the killer is. I feel
as sorry for you. I didn't know you were as
young as you are.
Speaker 9 (40:45):
Of the h.
Speaker 2 (40:49):
What have I What have I got to do with it?
You're having a lot of trouble with your eyes, aren't you?
Lights on the dashboard have got rings around them, haven't
they like big soap bubbled? What are you talking about? It?
Say you talked too much. You've talked yourself into the grave.
(41:09):
I would have believed you about finding that check in
a taxi. You would have gone to sleep in the car,
and when you woke up you wouldn't have the check
on you anymore. But you'd have had a ten dollar
bill in your pocket to sugarcoat the experience. Head weighs
too much? Doesn't it too heavy for your neck? My head?
You should have stuck to your own drinks. Son, You
(41:32):
were suspicious, but not suspicious enough. You took the wrong glass.
Speaker 13 (41:39):
Me.
Speaker 2 (41:39):
I'm a chess player. You know what chess is? Figuring
out your opponent's moved before he makes it. That's a
funny thing. Wear My head are a solid rock. You're
going to sleep here in the car, then you're going
(42:00):
going into the river without a mark on you. But
I'll take the check before I dump you. It's probably
in your shoe. It's about where your type of youngster
would think was a clever hiding place for it.
Speaker 3 (42:11):
Just clear my head and kick.
Speaker 2 (42:19):
Trying to kick out the glass. You haven't the strength
of a kick lass in you. No, it's all over.
That's water in front of us, that even black line,
you say, right over the hubcap can't even move, can you.
(42:43):
That's right? Make a lazy pass with your hand, like
you're brushing away flies. That's about all you're able to
do in a minute. You won't even be able to
do that. I go your eyes down, domb, You won't.
Speaker 11 (43:06):
He won't get away with this myster Brickey knows there
are two of us, not just one.
Speaker 3 (43:25):
And so I walked away from Quinn, and I was
alone again. I'd met him only a few hours before,
and with him, I'd met my past and my home
and everything I loved and wanted. And now I was
alone again, somewhere in this sleeping city. Quinn was after
(43:45):
his man, and I was after my woman, my redhead,
my long stemmed American beauty. The night o'clock, Hurrikee was dead, dead,
but not quite colds in the process of giving up
the ghost. Every other minute, a solitary figure would come
(44:07):
out and walk away, someone who earned a living inside.
This was the five o'clock in the afternoon of the
nightclub workers. This clock goes in the office direction to
that of the rest of the world. And what did
I have to go on? A redhead blackmailer who had
quickly scribbled a note to a man. And that kind
(44:29):
of woman doesn't ordinarily carry around pencil and paper and
a purse. She sends messages with her eyes and her hips.
If she wants a pencil, she's got to borrow it
from the help. Excuse me, huh, what's the matter? If
you work here, don't you I'm in a check room
till something better turns up. Well, I wondered, did my
(44:51):
friend in a light green dress, a redhead, did she
borrow a pencil from you? Tonight? What's the other way around? Honey?
The men take out their pencils and give me names
and addresses and telephone numbers. I got didn't a woman.
I don't even see any woman. Oh, another long day.
Speaker 2 (45:12):
My feet swell up all the time. You want to
throwing up some salt water as hot as you get
stand me.
Speaker 10 (45:18):
Well, my name is Jerry, but don't let the name
stand away.
Speaker 3 (45:23):
I'm looking for my friend a redhead and a light
green dress. Did she borrow a pencil from udinized.
Speaker 2 (45:29):
My end at the bar?
Speaker 10 (45:30):
How about it, Frank Sure Joan Bassett about midnight? She's
always borrowing something and forgetting to give it back. How
that girl forgets?
Speaker 3 (45:40):
That's the way, Jonie is. Do you do you know
where I can find her?
Speaker 10 (45:44):
Try to concord that was the last address, but she's
probably moved by now.
Speaker 3 (45:50):
Thanks, fellow.
Speaker 2 (45:51):
Can't I do anything for you another time?
Speaker 3 (45:54):
Jerry?
Speaker 2 (45:55):
Okay, that's a promise another time?
Speaker 3 (46:08):
What can I do for you? Be friendly? Pops? Say hello?
Speaker 2 (46:11):
You know what? Do you want a room? Wait for?
Speaker 15 (46:15):
What goes?
Speaker 3 (46:16):
My girlfriend got? I want to ru up and tell
her something, you know, Jonny Joan Bassett? Yeah, that's Joan Bassett.
Only we don't have to be so formal.
Speaker 2 (46:24):
She didn't own a Hey, wait a minute, I'll I'll
skip that.
Speaker 3 (46:27):
She don't have to put on no airs with me.
Who's she kidding? I know she's two weeks behind no rents?
Speaker 16 (46:31):
Right?
Speaker 2 (46:32):
Do you know that? Well? Going up?
Speaker 16 (46:34):
Okay, what do you want, Hugh?
Speaker 3 (46:55):
I want to talk to you? Yeah, I'll just stand
out there a minute and tell me what about We've
got a friend in common, you and I.
Speaker 17 (47:02):
It's possible go on this friend's name is Stephen Grave.
Suppose you come in a minute, I'll hear what's on
your mind. Sure, I thought that might do it. Do
you have to lock the door?
Speaker 2 (47:19):
Yeah?
Speaker 3 (47:19):
I think I do. Whatever you think. That's begame with
your name. You can put me down. Is Carolyn Miller?
Speaker 2 (47:26):
All right?
Speaker 3 (47:27):
Carolyn Miller? Now about Stephen Graves? What makes you think
I know him? Stop being polite? You know him? He
mentioned me to you. No, he wasn't doing any mentioning
of anybody. He wasn't doing anything. You've been over to
see him lately, very lately. I just came from there. Now,
(47:49):
how did you find him? I found him dead?
Speaker 2 (47:54):
I see.
Speaker 3 (47:57):
Oh that tap in the kitchen is loose again. Gives
a minute while I tips. I've known we weren't alone
the moment I came into that room, and I knew
that faucet in the kitchen was a signal for a
quick conference. There was my chance. Maybe I had a minute,
maybe only thirty seconds. There was only time for one thing.
(48:17):
The open handbag on the dresser. Nothing there, that's some powder,
usual chunk. And then an unpaid hotel bills for seventeen
dollars and eighty nine cents from this place, the conquered,
no good, worthless, and my time was up. Get something,
screamed at me, to hold on to it, to slip
it inside my stocking, high up and get back into
(48:38):
my chair.
Speaker 16 (48:42):
Well that's done.
Speaker 3 (48:44):
Now Where were we with Stephen Gray?
Speaker 2 (48:48):
Oh?
Speaker 3 (48:48):
Yeah? To go up there alone? Or do you have
somebody with you alone? I don't take my grandmother with
me when I'm visiting to see somebody stop at the
don't tell you. When I found that, cops and people
hanging around, lots of excite, no one knows it. I
found him alone. I had a key to the house
that he'd given me. I went up and there he
was dead. What'd you do?
Speaker 2 (49:11):
Horror?
Speaker 3 (49:12):
Bloody murder and bring everyone down the place. I get
out of there fast and quiet. I don't want to
be mixed up in.
Speaker 18 (49:16):
It, smart girl. And all this happened is a little
while ago. Yeah, nobody knows yip, But two me and you?
Speaker 3 (49:26):
Did you come here alone? All alone? Everything I do
I do alone. I guess I've hit the jackpots. Yeah
you sure have. Baby, You've hit it hard, make it tight, grit,
but you can't make any noise.
Speaker 2 (49:41):
It's don't worry about that.
Speaker 6 (49:43):
Well, miss Carol and Miller, you're in trouble now. So
Stephen Graves is dead and you tell a little.
Speaker 3 (49:49):
Nosy about it? Hunh you wanted the details, all right?
You can have him. You seem to have known him
pretty well. Maybe he told you. Did he did he
tell you about his kid brother who marya tabern hoo
just back in Boston? They tell you what that did
with the fine old family name.
Speaker 6 (50:04):
And this girl began asking for money when she came
to New York and agan asking Stephen for money.
Speaker 2 (50:09):
Did he tell you that?
Speaker 3 (50:10):
He paid and paid and finally decided to stop paying.
Speaker 18 (50:13):
So this girl and her friend had to pay him
a little visit tonight to try to persuade him.
Speaker 3 (50:18):
Did he tell you that? Did he tell you what
happened when he couldn't be persuaded?
Speaker 11 (50:24):
No?
Speaker 3 (50:26):
Hm, he didn't tell you that because he wasn't talking
by them.
Speaker 2 (50:31):
But then he was dead. You want to spend the
night at it him?
Speaker 3 (50:34):
Right? Well, what's the plane now?
Speaker 2 (50:37):
Don't you figure we.
Speaker 3 (50:38):
Are not here in the room that's begging for it.
Speaker 13 (50:41):
You don't understand, I don't mean shop chap that kind
of stuff. I mean four flights don't got to be enough.
The three of us get the drinks in a piece.
He goes over to the window to try to open
it for air and the gams.
Speaker 3 (50:53):
So she's gonna there's always a follow up for a
little messy.
Speaker 2 (50:56):
Let me take care.
Speaker 3 (50:57):
Yeah, like he took care of the other. But I
told you to throw a scare into.
Speaker 2 (51:01):
Him, say come across, or some scare you throw at him, grit. Yeah,
scared him right out of his skin, right out of
his hand.
Speaker 3 (51:08):
I don't want you to be sewing talk at this time.
Speaker 2 (51:09):
Well, in les blow, I'm step in the closet, backs
up against the dead wall. So she'll never be hed.
There'll be days before they get round the bus and
the door down. Yeah, we'll be far away by the Yeah,
far away.
Speaker 3 (51:21):
Okay, I can pack in ten minutes.
Speaker 2 (51:22):
Les, I'll give you a hand a minute.
Speaker 3 (51:26):
I missed that hotel then it must have fallen somewhere.
Speaker 1 (51:28):
I don't worry about that. He can make up a
no one for you down at the desk. Shall we
get her out of the way first, Yeah.
Speaker 3 (51:37):
Hang Carolyn Miller in the closet. They're comfortable, grift. We
already extra nice to her. Because there's a little fresh
air a minute.
Speaker 2 (51:48):
Grif what's what?
Speaker 3 (51:50):
Do you don't click to have my head examine something? Yes,
I got you both. Plea for good.
Speaker 10 (52:00):
To me?
Speaker 3 (52:00):
She didn't pull my name and andress out of my hat.
Speaker 2 (52:02):
Yeah, pot that gag off her.
Speaker 3 (52:05):
And you try to scream and I'll dent you. I
won't scream nor talk. How do you know I knew him?
How do you know where to find me? I don't
let you have it, and I'm gonna keep let you
have in the ankles. You frocked your hotel bill over there.
I found it lying in the room with him.
Speaker 2 (52:25):
You would have slap you down to the socius.
Speaker 3 (52:27):
You left your Oh she's lying. I swear I caught
my hand against I got back.
Speaker 2 (52:31):
Did you take it out to show him my hand
till me? Did you sure while.
Speaker 3 (52:35):
You're waiting downstairs? It was part of the build of
the show him all bad. I needed money, but I
know I put it back again. I'm almost positive to
sell out. It was for seventeen dollars and eighty nine cents.
It had passed you stamped on it in purple ink.
It even had your room number on it.
Speaker 2 (52:55):
And what did you do with it? Did you bring
it with you?
Speaker 3 (52:57):
I left it where it was. I was afraid to
touch anything.
Speaker 2 (53:04):
We don't have to go back and get it.
Speaker 3 (53:06):
All right, we will, We'll take her with us. It
Does it look like she did it to him? Or
do you want to do in the first place? Griff,
I do it over there. It's my double header to
figure out. It's the only way about this detail by
finishing her off where she started from.
Speaker 2 (53:23):
All right, come on carevon Miller.
Speaker 7 (53:27):
They're going for a little ride.
Speaker 3 (53:41):
And so I went back into Stephen Graves House the
second time that night. They pushed me ahead of them
in the darkness, whispering to each other not to use
any lights yet. Justice Quinn and I had done a
few hours before.
Speaker 2 (53:56):
Or was it a few years before?
Speaker 3 (54:00):
We were in the study and the lights were snapped on,
and the dead man was still on the floor, and
nobody stepped forward to say, brittley is that you?
Speaker 2 (54:13):
No?
Speaker 3 (54:14):
He wasn't there, Quinn wasn't there waiting to help me,
to save me.
Speaker 2 (54:21):
I unders do what we have to do and get our.
Speaker 3 (54:23):
Fans something else first. Well you where is it? Where
is that hotel? Bill? Wait to say your thought? Over
there by him is where I said, and you believed me?
Speaker 15 (54:43):
Then you did?
Speaker 3 (54:44):
He lied high lies.
Speaker 2 (54:48):
What have you got it?
Speaker 3 (54:50):
That's that's your little problem.
Speaker 13 (54:53):
Let me have the gun, get away from the move over.
Say and still, Carolyn Miner and when to come real close.
I want them to worry about whether it's source.
Speaker 3 (55:07):
Sang, yes, Griff, I'll stand still.
Speaker 2 (55:14):
Good girl, Karen, click girl.
Speaker 3 (55:22):
It didn't hurt. It didn't hurt at all. And I
opened my eyes to find out why. Chris stood in
the middle of the room, his face contorted and arms
squeezing heart around his neck, and behind his face was
another face, a faith I knew Quinn's face, the boy
next door fighting for me, fighting to save me.
Speaker 2 (55:41):
Then Quinn went.
Speaker 3 (55:42):
Down, almost tided, and Quinn was on top of punching
out of a cannon again. When John was raking across
the room with an hands, I'm raising her hands.
Speaker 4 (55:49):
I never played.
Speaker 3 (55:50):
Football as a little girl, but on this night.
Speaker 4 (55:52):
I decided of a time to try.
Speaker 2 (56:11):
Ricky Ricky darling. Quinn, are you all right?
Speaker 3 (56:18):
Somebody's bringing shirt bells in my head?
Speaker 2 (56:20):
Oh, you knocked yourself out with a flying tackle, Quinn, queen,
what happened? They Oh, yeah, they're both asleep, Ricky, as
sound as can be.
Speaker 10 (56:33):
All right.
Speaker 3 (56:34):
See you wrap them up nicely.
Speaker 2 (56:36):
Yeah, I had to tear up a few good sheets
to do it. But I don't think mister Graves would
have minded i'd given up, Quinn.
Speaker 3 (56:44):
I thought i'd beat you back here. I'd give enough, Bricky.
Speaker 2 (56:52):
I saw them coming in with you outside on the street.
I was watching from one of the front windows, and
something about the way you were walking between them sort
of stiff told me they had a gun on you.
So I backed up into the bathroom and laid low.
Speaker 3 (57:05):
Yeah, the ones, Quinn, they did it, and we can
go now. It's a quarter to six. We can catch
that gust for home.
Speaker 2 (57:12):
There's one more thing to be done, Ricky. It's only
take a minute, and then you and I aren't gonna
have any more to worry about it. Is this a
police I want to report on murder quin Stephen Graves
in his home on East seventy first Street, the two
(57:35):
people tied up in the same room with the body
and the other killers. You'll find a special delivery letter
in the desk from Graves's younger brother, and that'll tell
you the reason for the killing. What Oh, this isn't
any rib I wish you was me. I'm just a
guy who happened to be passing by.
Speaker 3 (57:56):
We can take their car. He left his keys in it.
Speaker 15 (57:58):
Come on, queen, hurry, we will make it.
Speaker 2 (58:15):
Don't you worry, Bricky, I'm not worried up.
Speaker 3 (58:18):
I know we will. What happened to you tonight? Did
you find homes?
Speaker 2 (58:23):
Yeah? And and he tried to kill me, quinn. It
was your name that saved me, Brickie. I called out
your name and told him you were in on this
with me, and he changed his mind in a hurry, and.
Speaker 3 (58:37):
We saved each other.
Speaker 2 (58:39):
That's right.
Speaker 3 (58:40):
What about the check? How did it figure?
Speaker 9 (58:42):
Well?
Speaker 2 (58:43):
Holmes was cut short when he wrote that check, and
Graves got sold and the bank returned it. They talked
it over tonight and it ended up with Graves giving
you another day to raise the money. The reason Holmes
was sogittery was that the check seemed to have disappeared.
You didn't know what Graves might be calling, and of
course Brave wasn't pulling anything with a check lying in
the bottom of his bath ub.
Speaker 3 (59:03):
You told Holmes how it got there?
Speaker 2 (59:05):
Yeah, and look what I've got.
Speaker 3 (59:09):
Two hundred dollars.
Speaker 2 (59:12):
Quinn. No, I didn't steal it. After he decided he
wouldn't kill me, Holmes and I got very chummy.
Speaker 3 (59:20):
He said.
Speaker 2 (59:21):
We both made a mistake in the same night, me
breaking into a safe and him with his bad check.
He slipped me a pill earlier in the evening, and
now he was walking me around and sober me up.
That's when he gave me the money. A nest egg
for me. He said, I could send it back to
him a little at a time. Later on.
Speaker 3 (59:40):
We'll send it back, Quinn.
Speaker 2 (59:43):
Wave Bricky wearing.
Speaker 3 (59:45):
This together antre.
Speaker 2 (59:47):
Yes, Bricky, we are Oh, Quinn.
Speaker 6 (59:50):
We made it.
Speaker 5 (59:51):
We're in time.
Speaker 3 (59:52):
The bus is still there.
Speaker 2 (59:54):
Come on, Bricky, that's gone home.
Speaker 1 (01:00:22):
Thank you Helen Walker and John Deale for your truly
wonderful performances as Bricky and Quinn, and to Lillian Bayer,
Rye Billsbury, Edith Tackner, Buddy Gray and Bill Johnstone, thanks
for your splendid support With this performance. Suspense leaves the
air for a short vacation period.
Speaker 2 (01:00:42):
We will return on Thursday at nine p m. Eastern
Daylight Saving time.
Speaker 1 (01:00:47):
Starting Thursday, July eighth, with an outstanding series of gripping
suspense stories featuring the acting of your favorite stars of
the screen. Watch for the new suspense series starting Thursday,
July eighth. Miss Helen Walker may soon be seen in
My Dear Secretary in Mister John Deal will soon be
seen in Paramount's Abigail Dear Heart. Deadline at Dawn by
(01:01:07):
William Irish was adapted for radio by Irving Ravitch and
was produced and directed by Antonym Leader Blud Gluskin is
our musical director and conductor Lucian Morrowick composes the original scores.
Be sure to watch for the new half hour series
of radios Outstanding Theater Afrails Curse Pain. This is CBS,
the Columbia Broadcasting System
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