July 12, 2025 • 57 mins
Please enjoy In A Lonely Place a great episode of the legendary Suspense - Old Time Radio show OTR - a Old Time Radio OTR classic.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
In a lonely Place, My Dorothy, be you. This is
Robert Montgomery.
Speaker 2 (00:11):
The other day a friend of mine repeated a familiar phrase.
He indicated the travel folder on his desk and said,
with a kind of triumph, I'm going to.
Speaker 1 (00:19):
Get away from it all. He's lucky, my friend is.
He's going to change the scene, the whole scene.
Speaker 2 (00:26):
New horizons, new vistas, new people or no people at all,
new thoughts or no thoughts at all. He has a
rendezvous with a cloudless sky and a peaceful stream and
the easy whisper of the wind.
Speaker 1 (00:40):
Only time stands between him and the fresh beginning. Indeed,
he has a lonely place where there is no loneliness. Yes,
my friend's lucky.
Speaker 2 (00:50):
He can get away from it all with a simple
change of scene, and he has no fear of being
alone with his thoughts. It isn't like that with Dixon Steel.
It isn't like that at all.
Speaker 3 (01:03):
And so with the performance of Robert Montgomery as Dixon Steel,
and with our play in a Lonely Place by Dorothy B. Hughes,
we again hope to keep you in suspends.
Speaker 2 (01:23):
I stood there at the foot of sunset, at the
end of the city of Los Angeles, looking out.
Speaker 1 (01:28):
Through the evening fogged at the Pacific. The swirling mists
kept lifting themselves like gauzy veils, coming up to touch
my face. There was something in it like flying, the
sense of being lifted high above the crawling earth, of
being part of the wildness of air, and something more
of being wrapped tight the strange world of fog and
(01:51):
cloud and wind. I had liked flying at night, but
the war's ending had finished that.
Speaker 2 (01:59):
Since then has it left me that feeling of power
and exhilaration and freedom that came from being alone in
the sky. But here tonight, at the edge of this noisy,
fog drenched ocean, I had it again.
Speaker 1 (02:19):
Then I turned away. I was already late for my
appointment with Brub and his new wife.
Speaker 2 (02:25):
I walked past my coup, parked at the curb, and
went up the path to the little white cottage.
Speaker 1 (02:30):
The lights from the living room windows made little concentric
circles in the heavy fog.
Speaker 3 (02:35):
It would be good to see Bub Brub again, you
old son of a secret.
Speaker 1 (02:40):
What do you mean by not calling this before? Now
let me see you. It's the same boy, Brub. I
haven't changed a bit and either of you. I'm sure
I have for the better, and this is why, Sylvia.
This is Dix, Dix and Steeve. Hello, dick Ow.
Speaker 4 (02:54):
We're all friends. Really, You've been Grubb's favorite topic of
conversation as long as I've known.
Speaker 1 (03:00):
Flew together, Sylvia. Rob took care of me like a
big brother. You needed some looking after, Colonel Steele remember
the night and sold if later missed it, and it's
not colonel anymore.
Speaker 2 (03:09):
The Army made me a gentleman, gave me the only
mark of distinction I've ever.
Speaker 1 (03:13):
Had, and then took it away from me.
Speaker 2 (03:15):
Say why didn't you tell me you were married into
such a lovely girl?
Speaker 1 (03:18):
Thank you tell you?
Speaker 2 (03:19):
You called me up five months ago, last April the eighth,
to be exact, told me you'd just get in and
let me know as soon as.
Speaker 1 (03:26):
You were located. That's the last I heard. You checked
out of the Ambassador three days later, and you didn't
leave a forwarding address. I could I tell you anything?
Keeping tabs on me, brother, uh, trying to find you,
you crazy lover, And here I am. It's like being
home again. We'll brief me, boy, what have you been doing?
And how's it going slow, Rob Slow.
Speaker 2 (03:44):
I've got a little apartment in the car and the typewriter.
Speaker 1 (03:48):
That's about it. The typewriter is a new touch.
Speaker 2 (03:50):
Try to write a book like ninety percent of the
other gis the detective novel. My rich uncle Fergus back
east is taking me for a year to see what
I can do. He calls it giving me a hand
over the period of my readjustment.
Speaker 1 (04:03):
So that keeps me busy most of the time and
the rest of the time. The rest of the time,
I hardly know what to do with myself.
Speaker 2 (04:12):
You were a hot pilot in England, Dix, and just
a kid at that sure going to take a little time.
Speaker 4 (04:18):
Did anyone care for something to eat or drink cold beer?
Speaker 2 (04:21):
We huggs not at the moment. I'm too relaxed. We
were a casual generation, Dix. I put us in the
middle of something that wasn't very casual. There's bound to
be a reaction.
Speaker 4 (04:31):
Oh, Brub's always looking for the hidden motive power.
Speaker 1 (04:35):
That's because he's a policeman. A policeman or not a policeman. Now, Darling, detective,
what happened to you? Broh Oh? My old buddies ask
me why? And I can't help them. I don't know why.
Speaker 3 (04:49):
All I do know is it's.
Speaker 1 (04:51):
Rotten hard work.
Speaker 2 (04:52):
So the things men do, you with a badge and
me with a typewriter, And that reminds me I ought
to be getting back to it.
Speaker 1 (05:00):
Oh, but it's still what's the hurry, dicks O.
Speaker 2 (05:02):
Brubb will want his rest, Solvie if he's going to
dig around for the glory of the La Police Force.
Speaker 1 (05:07):
It is La, isn't it, bro It is indeed? Then
you do need some sleep, play your work in La.
No funny, I'll be seeing you two.
Speaker 4 (05:15):
Well, good night, Dick. We'll expect you to come off.
Speaker 1 (05:18):
Hey, wait a minute, we don't have your number my number. Sure,
we'll want to get in touch. Oh yeah right, Crestview
nine eight nine eight nine o eight nine eight. You'll
be hearing from me, Dixon. I'd be hearing from Brub,
And why not, good old Brub with his tired eyes
(05:39):
and rumpled hair. Brub had been my big brother, but.
Speaker 2 (05:44):
He hadn't known everything there was to know. Some things
a man keeps secret. It's amusing to keep something secret.
I wondered if they were surprised by Michaelickenson.
Speaker 1 (05:56):
But I had to get out of there. I couldn't stay.
Speaker 2 (05:58):
I had to figure things out. So Brub was a
detective now, and he had my telephone number. There's something
amusing about rub being able to lay his hands on
me whenever he wanted.
Speaker 1 (06:12):
Amusing and more exciting than anything that had happened in
a long time. The hunter and the hunted, arm in arm,
the hunt sweetened by danger.
Speaker 2 (06:26):
I was driving slowly, hugging the curb, and then I
saw her, a girl, an unknown girl, standing alone, on
the corner of Campden Drive, waiting for a bus.
Speaker 1 (06:38):
And busses didn't run off ten out here at night.
I pulled up a block ahead and got out, shutting
the door so it made no sound, and then I
walked back toward her. She heard me coming in the fox.
Speaker 2 (06:50):
She turned her face to me, smiling a little, glad
to have someone to share the darkness and the silence
with her.
Speaker 1 (06:57):
I walked up to her slowly, and I was smiling back. Yes, hello, speaking,
(07:17):
was it Sylvia, recognize your voice?
Speaker 2 (07:24):
Oh?
Speaker 1 (07:24):
I guess I slept through it. I was up late
last night working on the book tonight. Oh fine, fine,
what time, buddy.
Speaker 5 (07:39):
Thanks?
Speaker 1 (07:39):
You had me a little worried my dinner coach rank
while I was away flying to Well. Thanks for calling, Sylvia.
I had slept late.
Speaker 2 (07:54):
The day was almost gone. The apartment was already in shadows.
The afternoon paper was on the lawn just outside my window.
Speaker 1 (08:03):
The paper.
Speaker 2 (08:05):
I drew on a robe and ducked out quickly, and
I was back in the room, standing in the middle
of the floor, holding it still folded in my hand,
listening to the blood hammer in my head.
Speaker 1 (08:14):
I switched down the floor lamp and sank down into
an easy chair. I lit a cigarette and I took
a deep drag, and I unfolded it. That was all
I had to do. It lay spread open in my lap.
They'd found their biggest type for the headline. Strangler strikes
(08:37):
again us over here, Sylvia. Where's proud be detained?
Speaker 4 (08:55):
Like being married to a doctor?
Speaker 1 (08:58):
There he is now, sorry to be late, Darling. Hello Dix,
mad you could joined us.
Speaker 4 (09:03):
You look exhausted a day.
Speaker 1 (09:06):
Haven't you seen the papers? No, I didn't get a chance.
Why it's another one? Oh well, what's it all about?
Another woman kild the same way.
Speaker 4 (09:15):
Did the commissioner call you?
Speaker 1 (09:17):
Yeah? The whole department. We've been with him since five.
We got to stop it stop. Oh, wasn't someone important? No, no,
it never is. Oh I forgot you were just a
visit her Dix. You see. The only pattern we can
find is in the time schedule.
Speaker 4 (09:32):
They come one a month regularly, must be start Rob, wouldn't.
Speaker 1 (09:37):
You like to order in a minute? Baby?
Speaker 4 (09:38):
I went on wine, I have a high ball anyway, Malcolm, Yes,
missus Nichola three Scotch and SODA's Malcolm.
Speaker 2 (09:44):
We know the lead.
Speaker 1 (09:47):
The first one was about four months ago, May to
be exact.
Speaker 4 (09:50):
May sixteenth, the night before my birthday party.
Speaker 2 (09:53):
It was a girl down on the skid row. She
was a nice enough kid, dancer in a cheap joint.
And found her in an alley strangled.
Speaker 1 (10:00):
And that was number one. Yeah, in June, number two
we found her in Westlake Park. Wasn't any reason for
a nice, normal girl, young and attractive. She'd been killed
the same way and no clue. And then the others.
Speaker 2 (10:13):
Last night was the fourth, no mode of no connection
between any of them, and never the same neighborhood. Last
night Beverly Glen Canyon up where its country. She was
lying in the brush at the side of the road,
We're about five hundred car tracks superimposed on that particular stretch,
so it wouldn't do any good to lift them.
Speaker 1 (10:29):
And but we've got one clue, a great one. We
know the killer uses a car. How can you tell?
Speaker 2 (10:33):
Bro Well, her name was Mildred Atkinson, and she'd been
playing bridge with three girl friends in Beverly. At eleven,
she and another girl went out to the bus stop together.
Friend caught a Wiltshire bus and left Mildred behind waiting
for a Hollywood lit. So how did she get up
to the canyon where we found her this morning?
Speaker 1 (10:50):
It's a long way. The answer is she went for
a ride. Where's that drink?
Speaker 4 (10:54):
Just another minute ago?
Speaker 1 (10:56):
Los Angeles is too big toops sprawling. You can't patrol
every street every night. He's safe.
Speaker 4 (11:02):
He's insane, of course.
Speaker 2 (11:03):
Sure he is a maniac walking in the streets, mild
mannered and soft spoken and looking as normal as anyone
a homicidal maniac. I sat there watching Rob's angry black
eyes and Sylvia's white, pallid face.
Speaker 1 (11:18):
He's insane, of course. Their imaginations were poor, blunted little things,
reaching only as far as the obvious. He's insane, of course, so.
Speaker 2 (11:28):
That was to be the chorus what could they Know
the world of Imagination and Beauty, in which a scene
man as sane as any could.
Speaker 1 (11:36):
Kill and kill again. Don't you like it?
Speaker 6 (11:39):
Ranked it?
Speaker 1 (11:40):
What? Oh? Sure? Faster than the far yeh boy? But
I know why do you? It could have been that
little Banning girl over the next table. It could it
be that she reminds you of someone. I don't know
what you're talking about, broub What girl or what? Then?
Now he sees her?
Speaker 4 (11:55):
What's the mystery about Betty Banning?
Speaker 1 (11:58):
Dick? Now, no, Darling, It's just she's a dead ringer
for another girl we used to know in England, especially Dick.
He knew her. Well, Am I right? Yeah, yes, you're
right little Brucie. This this girl is so much like her.
You're wrong, Dick. She's not as pretty as Brucey. Don't
you remember? Remember? Yes, I remember Brucie, but I didn't
(12:26):
want to remember Brucie, Brucie of the Sea green Eyes,
Brucie whom I had loved and wanted and needed. No,
I'd been through it before. It was now that mattered.
Speaker 2 (12:38):
It was today in southern California, six thousand miles away
from her, with something else hammering in.
Speaker 1 (12:43):
My head to be looked at him, examined what. Oh, yes, tires,
they were good tires. No patches, no distinguishing marks. Robert
said it himself. They couldn't get tire marks from dry concrete.
I hadn't thought so.
Speaker 2 (12:58):
Still I have made sure certain gambols are legitimate, like
taking Mildred to that drive in last night, gambling on
the muddled memory of waitresses who served hundreds of average
looking men and women every day, every night.
Speaker 1 (13:13):
Sure it was a risk, but risks were like.
Speaker 2 (13:17):
Spice, like stump flying, as long as you used them
like spice, fearingly, like stunts, planning them with precision.
Speaker 1 (13:25):
I could afford to take risks. I just couldn't make mistakes.
I left the club right after dinner, got back to
the apartment early. I pulled up in front and got out.
Speaker 2 (13:39):
I started up through the patio to my place at
the rear when I saw I wasn't alone out there.
Speaker 1 (13:44):
She was hurrying in, not noticing me, and the blue light.
Her hair and her slacks and her jacket were all blue,
different depths of blue. I did it out of impulse,
without thought, I beg your pardon.
Speaker 4 (13:58):
Who who is it?
Speaker 1 (14:00):
I'm your neighbor. My name is Steele.
Speaker 4 (14:02):
So your name is Steele?
Speaker 1 (14:04):
Did you drop something? I don't know? Did I? No,
you didn't. It's just conversation. Try again another time. No, no, no,
Wait a minute, Wait a minute. I just lost my
dinner date. I thought maybe you'd lost yours too.
Speaker 6 (14:17):
Sorry, mine will be here any minute.
Speaker 1 (14:20):
You've got red hair. I didn't notice that. It's no secret.
Like I said, I'm your neighbor. Four A. If you
do ever loser dinner date, let me know.
Speaker 4 (14:31):
I'll be sure to make a note of that.
Speaker 1 (14:34):
Good night.
Speaker 2 (14:38):
I got some cold beer and some cheese from the
refrigerator and break myself over the dive van.
Speaker 1 (14:43):
The night was a scorcher a Los Angeles September night.
I lay there eating and drinking and waiting for it.
Not that I thought for a minute it would come,
but I was waiting for it, and it did come. Ah,
it's you, I've just lost. Oh, come in, come in,
(15:07):
maybe you'll find me.
Speaker 7 (15:09):
I hope not.
Speaker 6 (15:10):
I told him I had a headache and was going
to bed, and that I was just connecting the phone.
But I still want dinner.
Speaker 1 (15:16):
You mind. If I finish my beer, go ahead. I'm
Dick Steele. Who are you?
Speaker 4 (15:26):
My name's Laurel, and that's all you get for the
time being, Laurel.
Speaker 1 (15:31):
I don't mind beginning at a crawl. I suppose you're
in pictures. Not often.
Speaker 4 (15:36):
I don't like getting up morning.
Speaker 1 (15:38):
No, I don't need that. That's why I'm a writer.
Why'd you come by, Laurel?
Speaker 6 (15:42):
Because I'm hungry, and because tonight I didn't want to
sit opposite a man who's rich in sixty and eats
oat meal.
Speaker 1 (15:49):
You have a grudge against money, No, only against.
Speaker 6 (15:52):
The men and women who go with it, people who
think that everything in life is for sale.
Speaker 5 (15:57):
I hit them.
Speaker 1 (15:57):
Sometimes they pay their rent and the jeweler. They don't
pay mine. How did we get on the this? Haven't
you finished THEE? THEE? Yet?
Speaker 2 (16:07):
All finished? And already let's go, Laura? We ated Carls
out on the road to Malibu.
Speaker 1 (16:17):
We didn't say much.
Speaker 2 (16:18):
We ate and smoked and had coffee, and I watched
what the lights did glinting on.
Speaker 1 (16:23):
That red air. When we left there, I knew it.
I knew it was the beginning of something, of something good.
She was beside me, and with me, and that was enough.
Speaker 2 (16:34):
I'd needed her for a long time, ever since, Bruce.
That's how long this girl, this Laurel, could make it
up to me, could make me forget.
Speaker 1 (16:45):
I parked on an open stretch, overlooking in the dark
beachs in the ocean. She wanted to go down closer,
so we left the car and struggled through the sand
down to the water's edge. I held her hand tightly,
spinned the sorted our lips.
Speaker 2 (16:59):
They haven't done with a little.
Speaker 1 (17:01):
Having fun.
Speaker 4 (17:02):
Oh wonderful. You can really smell the ocean here.
Speaker 1 (17:05):
Breathe, Dix, breathe, Laurel. Would you laugh at me if
I said I was happy, that I never thought i'd
be happy again, that I didn't think I could be. No, Dix, Laurel, Laurel,
You're wonderful, Laurel, Come here, come here. Hello, Hello, Dix,
(17:47):
it's probably did I break into You're right?
Speaker 2 (17:49):
No?
Speaker 1 (17:49):
No, not at all. What's up? Who was that redhead
I seen you with last night? What are you talking about?
Why did you see me? You didn't see us. We
were pulling out a Carl's restaurant when you went in,
and Sylvia spotted you, and I spotted the rest. There
are always people looking, Rob, They're always eyes to see. Sure, boy,
you can't take a step in this world, you know that. Listen?
(18:09):
How about much? Fine?
Speaker 3 (18:11):
Fine? What time?
Speaker 1 (18:12):
And where? Now? At the Beverly Hills Station. Beverly Hills
Station place station, Kid, pick me up there? Okay, Rob,
I'll see you there. Noo, there was a nice station
you got there, Frob, like flowers and shrubs and a
(18:33):
white facade.
Speaker 2 (18:34):
It looks like a small Eastern University. Beverly Hills is
just a small town that's almost a village.
Speaker 1 (18:39):
But of course its first rate. I'll be working out
there from now on. How's the case coming in case?
Oh that and it's a dead end. I'm afraid you
mean you're closing the books. H We don't ever close
the books. After the newspapers and all the rest of them,
forget it. Our books are still open. That's the way
(19:00):
it is. That's the way it has to be.
Speaker 2 (19:02):
I guess there's been tough cases before we find the answer.
Our department said, cases running ten twelve years. Sometimes it's
just because we're waiting for the next move, but we
find them.
Speaker 1 (19:13):
This is Dick so O Powell. Remember what he's trying
to tell me that the criminal doesn't escape. That's right,
one way or another. East caught.
Speaker 2 (19:20):
Sometimes it's because he's caught there in that lonely place,
living with himself. So it ends in suicide or the
insane asylum.
Speaker 1 (19:26):
But there's no escape. You were saying the other night
that this killer is insane. He is. I can't figure it.
He's been pretty smart, hasn't he. The insane are more
clever about their business and more careful too, than the same.
Speaker 2 (19:40):
It's normal for them to be sly and secretive. That's
part of the menia. But they give themselves away. How
you like a fapple pie?
Speaker 1 (19:48):
That's like Mom used to make. How do they give
themselves away? And they repeat the pattern? Now take the strangler.
Look at this pattern. I don't see any I must
be writing a lousy detective. Now, okay, look it's a
girl at night. Hello. He comes along in a car,
She accepts a ride. You're positive about the car. It
has to be.
Speaker 2 (20:07):
My theory is he didn't use it on the last
one on Mildred until he'd made the approach on foot
and lulled her. She was waiting for a bus, and
he's waiting on the same corner and gets talking. He
invites her to have a cup of coffee, and then
he mentions his cars and par away and he'll give
her a lift.
Speaker 1 (20:21):
He takes her to the drive in Drive in What
drive in? Oh, that's something new.
Speaker 2 (20:25):
One of the car hops recognized Mildred's picture. After the
storm broke. She remembered her coming in with a man
in ordering coffee.
Speaker 1 (20:32):
Good girl, that's a big health it is. And the man?
Did she remember him? It could be you or me
or our grandfather's. No, she couldn't remember. Well, half a
loaf is better than.
Speaker 2 (20:43):
I I've got to go up to Beverly Glenn, the
scene of the crime.
Speaker 1 (20:47):
Want to come along? I had a date.
Speaker 2 (20:49):
Come on, I can give you a better idea of
what we're up against. All right, I'll charge it up
to research on the book.
Speaker 1 (20:55):
Good show me to take your car a mine? What
was that my car? Why was Brun's suspicious? Did he
want my car back up on that street? That street?
Was this lunch arranged? No, I'd already hesitated too long
in answering. It couldn't matter at which car. It had
(21:17):
been too late and they were foggy. Did you say something, Brob,
I'm sorry, And thinking about the redhead, I said, whose
car do we take? Yours are mine? Oh, you might
as well take mine. No, you don't mind another passenger.
Hot 's all. And the chief wants to come along,
Jack Blackner. We'll come back by the station for him.
(21:41):
We flung out towards sunset, all three of us up front.
Lockner was a tall, thin man with whispery gray hair.
He didn't look like the chief of anything. I drilled carefully.
I supposed the thing to do with cops. Besides you,
I stayed for a ride. Yeah, okay, so I'll shut up.
(22:06):
This is a turn right, Beverly grin. My hands began
to sweat.
Speaker 2 (22:11):
If Rob hadn't called out, I knew I would have
turned out that street myself automatically. And I was a
visitor from the east who didn't build the country very well.
Speaker 1 (22:19):
There was tension in my hands and arms, fear that
I might recognize the place at the side of the
road and react to it. And then slowly I relaxed,
realizing that I didn't know the road, that I could
never find the spot even if I wanted to, for
it had been dark. We climbed into the valley. There
(22:42):
was a chill in the air, and the sun was
far away. Nobody spoke.
Speaker 2 (22:47):
These two men were on a case that had them
tired and sore. It wasn't a time for a conversation.
Speaker 1 (22:53):
Piece. I drove on waiting for somebody to tell me
to stop. Yeah, just pull up along here, mister Steele,
if you will. Yeah, is uh this way? You found
(23:15):
her right there in the brush. You see how think
it is in here? He'd have known that.
Speaker 2 (23:21):
He'd have figured that she wouldn't be found for a
long time. With the leaves falling on her, covering her
every day, there'd be more leaves. Not many people look
off at the side of the road when they're driving,
not unless there's something scenic to look at.
Speaker 1 (23:34):
This canyon had be perfect. Then how is she found
so quickly? Look, milk man picked this spot in the
world to have a flat to killer. Figured that's smart.
See how the road curves here, Well, he could.
Speaker 7 (23:45):
See any lights coming from behind two loops below, and
he can look up to the top of the hill
see the lights of a car approaching him.
Speaker 1 (23:53):
When it takes the first of those two curves. He
can sit with her in the.
Speaker 7 (23:58):
Car looking like the spooner until the other cars go by.
He was playing it safe, so he does it. He
opens the door of the car, he rolls her out
in the leaves, and he's away. No chance of being
caught at it, and stangling is the easiest way.
Speaker 1 (24:16):
Yes, yeah, that makes sense. How about it? Don't find anything?
The experts have been over every inch of their microscopes.
Speaker 7 (24:24):
He won't find anything. But he wanted to have another
look around, so I came along.
Speaker 1 (24:29):
Well, it seems hopeless to me, mister Lockney, if there's
nothing here. Of all places, where can you look? Only
one place we'll find anything? And where's that? In his car?
In the murderous car. That's where the evidence is right now?
Not to send into the gas chantel cigarette, captain Locky, Okay, okay,
(24:55):
you you haven't been able.
Speaker 7 (24:57):
To get a description of that car yet, have not yet.
We're working on the people at the drive in. One
of them is going to remember and when you.
Speaker 2 (25:04):
Find it, then you will go through for those clues
that you were talking about hairpins and lipstick, No, mister Steele,
nothing like that. What then, dust, mister Steele, dust? You
heard the man Dix? He said, dust like this stuff
all over me.
Speaker 1 (25:18):
No matter how much I beat it, I can't get
it all out. Yeah, that's dust.
Speaker 7 (25:23):
We've got dust from the drive in, dust from her
clothes and her shoes, and dust from here from a
little ticket off of Beverly Glen.
Speaker 1 (25:30):
Three different kinds, and all of them in hay Scott.
That's really fantastic. And even in ten or twelve years,
the dust will still be there, some of it will. Yeah,
you want my opinion of this case, gentlemen, The strangler
doesn't have a chance. I swung the car around and
we rolled back down the canyon and into town. They
were sitting beside me again, up front, sitting on the
(25:53):
dust they.
Speaker 2 (25:54):
Wanted so desperately, breathing it into their lungs, having it
settle on the flesh of their hands and their faces,
and then their hair. The golden little molecules that would
send the stranger to the gas chamber floated gently and
unseen before our eyes as.
Speaker 1 (26:07):
We drove back, and I felt good. My hands were
easy on the wheel, I could be talkative now I
was expected to be curious and impressed. I would come
back to it again. Did it help you, Brud? Coming back. Nah,
I didn't find anything. Didn't expect him. You know something.
(26:29):
He's from the East.
Speaker 5 (26:30):
It although you mean the waitress recognized an Eastern.
Speaker 2 (26:33):
Accent, No, it just like anybody else. No accent, that's
just Lackner's reconstruction.
Speaker 1 (26:38):
He's from the East. I know that he's a mugger.
I'm afraid I don't follow you, cap'n. What's a mugger?
Speaker 2 (26:43):
Certain gangs used to operate in New York. One man
would get the victims, so you see, with his right arm,
and the others had rob him until they found out
it could be a one man job. You don't need
more than two fingers to strangle a man or a woman.
Speaker 1 (26:56):
He's a mugger. He doesn't use his fingers or on
any finger marks. He used his arm. He's from the East.
As a fellow Eastern here, Caplock, you must admit that
a Westerner could have learned the trick. I've seen the
way they did it in New York. He knows how
the same way. I think You're right. Luck, we keep
getting closer, will miss Steel. I'll get out right here,
(27:17):
all right. Thanks we lived Steel, Thanks for letting.
Speaker 2 (27:23):
Me go along.
Speaker 1 (27:23):
I'll see you at the station.
Speaker 2 (27:25):
Bro Ever since this thing started, I've been afraid for her,
for her, you mean Sylvia.
Speaker 1 (27:38):
She's lived in the canyon all her life. She never
had any fear, wandered all over at any time of day.
But the canyon at night, the way the folks come
in is it's a place for him. And I'm scared her.
She's alone so much.
Speaker 2 (27:50):
I never know what hours I have to keep. You
know our street, how dark and lonely it is, and
the way our house is set up there. Oh, I
A'm the one who's scared. Dicks, I've infected her and
I can't but I can't pretend until we've caught him.
Speaker 1 (28:03):
She isn't safe. Sylvia isn't safe.
Speaker 2 (28:07):
I saw how it was with both of them, how
they clung together, fear in both of them, the woman
fearing to have her man closer on the heels.
Speaker 1 (28:17):
Of a murderer, and Rob afraid for.
Speaker 2 (28:20):
Her because she was a woman, because she was his woman,
and women were being stalked in the night. And yet
even though he was afraid, he would leave her because
he was a hunter and this was a big hunt.
Speaker 1 (28:37):
For wild game, Yeah, wild game. In tonight's full hour
of suspense. Mister Robert Montgomery stars as Dixon and now
(28:59):
back to our Hollywood sound stage and act too of
in a Lonely Place.
Speaker 3 (29:04):
Starring mister Robert Montgomery in a narrative well calculated to
keep you in sus pain.
Speaker 1 (29:20):
I was very tired, tired of thinking about Sylvia and
Brubb and the fear that had bound them as desperately
as their love for each other. I was weary of
the big hunt. Or I was hunting on my own.
I was looking for happiness. I spent the next few
days with Laurel. It got so that I didn't count
the hours anymore.
Speaker 2 (29:41):
All I knew was beauty, and I knew intensity, and
I called it happiness. And all the time I knew
it wouldn't last. I sensed the restlessness coming into her.
I could feel it, Dix, Dix.
Speaker 1 (30:01):
Did I stations law, Law? What is it you tell me?
You've been sitting there without a movie for more than
an hour, just daydreaming. Was it something nights? Tell me
about the radio? Dis it's making any noise? All right?
(30:25):
You like a drink? Yes? Please? Thanks? You know what
we ought to do tonight, go out on the town,
put on our Sunday best right, where do you want
to go to drive in? Text seem to be all
(30:52):
thumbs No, no, no, that's allry. I didn't want it anyway,
Oh baby, no drive in for you tonight. You're not
the drive in type? What type? Am I? The zero type? Baby?
Expensive and plush and chromium pleat it Zeros. That'll do fine.
I'll call a reserve a table for.
Speaker 6 (31:10):
Ten class savior money.
Speaker 1 (31:12):
You can take me to a drive in tonight. I
won't take you to a drive in?
Speaker 6 (31:15):
Why not?
Speaker 1 (31:17):
Are you afraid someone might see it? There? Is that?
Speaker 7 (31:18):
Why?
Speaker 1 (31:19):
What do you mean by that?
Speaker 6 (31:20):
I mean you keep me hitting away from sight if
we might run into some of your friends like that
Brup and Sylvia.
Speaker 1 (31:25):
If I wasn't good enough for you. Look, baby, relax,
you're not making sense. Didn't I say I wanted to
spread out tonight? Get get dressed up for once and
go to CEOs. Hide you away. You come with me
tonight and I'll show you off for everybody to see. No,
I'm tired. I don't want to get dressed and go places.
Speaker 4 (31:47):
All I want is to go up to the driver.
Speaker 5 (31:48):
We're not going to the drive in. We're not going
you're hurting me. Hello, Collo Dix.
Speaker 1 (32:01):
How are you fine? What's on your mind? Can you
come over to the house. I want to see you. Sorry, brother,
but I got a date tonight. I've just had a
letter from England Dixon. It's about Ruthie. That's right, Okay,
I'll be right over.
Speaker 2 (32:19):
It seems that I can't have dinner for you after all.
Oh right, you don't seem very unhappy about it. Law Yes,
I'm sorry if I.
Speaker 1 (32:31):
Hurt you again, It's all right. We haven't been softlovers.
We haven't played it that way. The world keeps coming
in between us. That makes me afraid. Why should you
be afraid because I might lose you.
Speaker 2 (32:49):
I have to keep telling myself to remember to remember
that I can't take any chances that I can't lose you.
Speaker 1 (32:58):
I can't, Laurel, don't be afraid, DICKX you see.
Speaker 4 (33:04):
I love you very much.
Speaker 1 (33:17):
Have a chair, Dix? All right?
Speaker 4 (33:19):
Did you care for anything to eat?
Speaker 1 (33:20):
No? Thanks, Syby, I just finished, remember Adam Tyne Dix? No,
sure you do. The flight commander from bad nice quiet fellow.
We saw a lot of him. That's spring of forty,
so we knew a lot of fellas over there, brother,
I don't remember.
Speaker 2 (33:33):
Well, it's not important, accepted. I've had a letter from
him first one and more than a year. It's a
sad piece of news, Dix.
Speaker 1 (33:41):
Let's have it. Brucie is dead. Brucie, it's dead. Brucie.
Speaker 6 (33:51):
Oh dead, Dix.
Speaker 4 (33:53):
I didn't know.
Speaker 2 (33:54):
I'm sorry, Dix. I guess none of us realized how much?
How much you and Brucie, we didn't know that.
Speaker 1 (34:02):
No ill could you? How could anyone know? How did
it die? Bus Bob's no? Well?
Speaker 4 (34:14):
How?
Speaker 1 (34:15):
Oh she was murdered. Murdered, Yeah, I murdered. Well why? Why? Who?
The police have never found out? Better not talk about it, Dix. Oh,
I want to talk about it. I want to know
who did it? Why should anyone kill Brucie. They don't know.
Her family missed her for two weeks. When she was found,
(34:37):
it was in a rocky cove. She'd been strangled. Brucie
was dead. Brucie, whom I had loved, who was my
only loves Brucie was dead, and no one cared. No
(34:58):
one in all the world cared except me. I called
(35:20):
Laurel when I got home that night. She didn't answer.
I stepped outside and looked up to her apartment across
the patio from mine. It was dark.
Speaker 2 (35:28):
She didn't come home at all that night, or the
next day or the next night.
Speaker 1 (35:32):
No word from her, not a sign. Nothing. Following morning
was a dirty gray rag. I called Laurel's number once more,
no answer. I had to get out of that cramp room,
away from the unremembered shape of my dreams. I didn't
take the car. I wanted to breathe, put motion into
my body. I walked as far as Wilsh's and then
(35:52):
went up to Beverly Drive in my favorite delicatesta Dick,
where'd you spring from? A guy gets hungry? Brother, how
are you?
Speaker 3 (36:02):
Captain?
Speaker 1 (36:02):
Locking? Fine? Fine, good to see you again, slid in? Okay, thanks?
Would you like to dardan ounce if you please? SLAMI
sandwich on rye and a beer please? Well more trouble
in Beverly. No same ocation and not going to let
it happen against that's all. And you think it comes
from this neighborhood. It's the last clue we have. We
(36:22):
pick up a little more each time a check. But
where do you check? How we've been talking to the
help again at the drive in where he stopped with
her that night, any lock, I don't know yet. These
neighborhood spots a lot of people combined to eat regularly.
I got to thinking about it. There must have been
some of the regulars around that night when he took
noted in for coffee, the nerv driving in there, coming
(36:45):
in under all those bright lights, and gambling that no
one would remember what he looked like like you and me. Bro,
an ordinary man, yeah, an ordinary man with the nerve
of a jet pilot. I see what you're after, Bro.
Have the help ask questions of the regular when they
come in. Were they at the drive in the night
of the murder? And did they see the couple? That's it?
(37:05):
And I suppose you're hoping this fella is a repeater too,
and that'd be a break if there's no chance, no
chance except for his nerve. You mean he might have
the nerve to walk in again. He might tax He
just might. And you think the help might spot him
if he did. I think they might.
Speaker 7 (37:20):
They're keyed up to remember mister Steele, the little carhop.
Gene your name is swear she'd know again. If he
came in, she'll know him if she sees him again, only.
Speaker 1 (37:31):
She can't describe him. That's the trouble with people in
these cases. You remember how it was when we were flying. Brother,
How do you mean you said yourself, he's a gambler,
he's reckless. I mean he'll take chances, like going to
that drive in before killing the girl. Well, it occurs
to me that it's the same kind of recklessness we
had when we were flying during the war. We took chances,
(37:51):
but we were sure that we'd pull out of them.
Mister Steele makes sense and something else. He's probably an
ex serviceman. How do you figure that? The people who
saw with the drive in or say he's a nice
looking fellow with nice clothes. At least that's what the
newspaper accounts have to say. Am I right so far?
Then it's ten to one. He's the right age, good,
healthy specimen average, the average we're in the service. I
(38:14):
know that's not a very brilliant deduction, but it fills
out the picture a little more. I'll buy that, mister Steele. Yeah,
I'm little too. Well, I'll be getting back to the office.
I'll be in a little later today, chief. Okay, by
the way, Captain Lockton, Yeah, every time I see you,
I seem to be asking a lot of questions. I
hope you haven't minded, not at all. Rob bouts here
(38:35):
a long time ago. You just keep asking. I will, Captain,
and thanks, and I'm late.
Speaker 7 (38:39):
Now when I check out those Bruce reports again, see
me as soon as.
Speaker 1 (38:43):
You get back. Right, here's your artist, I beg.
Speaker 4 (38:49):
Service.
Speaker 1 (38:50):
Oh, yes, thank you. Will that be all to pay? Yeah,
that's all your checks, sir, and thank you Bruce. It
is a pretty common name.
Speaker 2 (39:00):
There must be a hundred thousand in the United States
at least, and hundreds in Los Angeles.
Speaker 1 (39:05):
Yeah, he said he was going to check the Bruce reports.
It's not the same one, Rock. It couldn't be. Not Brucie.
Speaker 2 (39:14):
I'm sorry to take sign and know it's a raw wound.
I couldn't help talking to Lockner about her. It was
knocked off my pins when I heard the news and
I wanted to report on the case.
Speaker 1 (39:22):
I figured you'd won one too.
Speaker 2 (39:23):
If you were right then what happened the locked table
to the London police. He thought it did help us
that maybe Brucie was one of a series, like our series.
Speaker 1 (39:31):
It's far fetched, but the killer might have been an American.
England was full of g I's at.
Speaker 2 (39:36):
The time, and was she one of the series? They
don't know it was a series, but it didn't start
right after Brucie. A couple of months. Then it began
the same pattern, strangled.
Speaker 1 (39:47):
Well, what was the matter with him? Couldn't they catch him?
Speaker 2 (39:49):
Now?
Speaker 1 (39:49):
It was never caught.
Speaker 2 (39:51):
After six months, it stopped just as suddenly as it
had begun. Maybe it was shipped back home.
Speaker 1 (39:57):
If I could ever find him, if I could have
get my hands on him, the man who killed Brucie,
I guess we feel the same about that. Do you
want to come back with me? Dixon? See the reports?
I don't think I could take them, rub you understand?
Of course I didn't, Of course I did. I went
(40:19):
back to the apartment and lay on the dive nd
for the rest of the afternoon, thinking about Brucie, strangled
so many miles away, the Laurel, who lived just across
the patio from me and had disappeared as if the
earth had swallowed it. I thought of them both, and soon.
Speaker 2 (40:35):
Their figures swam together in my mind and were co
mingled so that they became one. It was already dark,
and I found myself very hungry. I got in the
coop and drove over to the wheelchair, not knowing where
I'd eat. Passed this boy Roman Norv's Tropics, and then suddenly.
Speaker 1 (40:55):
The brilliant lights of the driving glittered ahead of me.
I didn't stop to I twisted.
Speaker 2 (41:01):
The wheel and pulled into a pocket space right up front,
right under the lights.
Speaker 1 (41:06):
They were looking for a man of my height, a
man of my bill. I was here for them. I
count two young fellows were in the card in my left.
A middle aged come up to my right. No police,
no police inside. I was safe. The girl who came
(41:27):
with the menu was pretty, no more than sixteenth. Good evening.
Speaker 2 (41:31):
Oh you a menu?
Speaker 1 (41:33):
I know what I want. I'll have a special tonight.
It's kind of a celebration y. I wondered what the
girl's name was. I wondered if she was Jean, the
car hop whom the police had alerted, the girl who
would come up to each customer in the hope of
finding me. And here's the knife. She had found me,
and she didn't know it. I ate slowly lingering over
(41:57):
the food, and before I left, I had ended her
a large tip, just to be sure she remembered me.
She thanked me, smiling and said, and I promised I would.
I went out wheelchair to the ocean. The fog blew
in at fourteenth Street, and I should have turned like them,
but I didn't. I could hear the boom of the breakers,
(42:22):
and I could smell the sea in the fog, and
the fog itself was sweet and cool. It was silent.
The world was shrouded and missed some silence except for
the thump of the water far off cry of the
fog horn.
Speaker 2 (42:37):
And then at that moment I knew what I was
going to do. I got out of the car, and
I listened to my footsteps across the pavement toward the beach.
Speaker 1 (42:52):
And then I listened to the silence as I began
walking in the sand, sledging through heavy damn sand. If
I passed the clover I'd gone to dinner one night
with brub where I'd seen a young girl, a pretty,
brown haired curl looked like Brucie. I went on, trying
(43:13):
to forget. I drifted along the deserted beach, looking for
the shape of a living thing of a woman. But
I was alone. I passed a beach house where people
huddled together in warmth and gaiety, and found myself trembling
with hatred palaw If she had come back to me,
I'd not be shut out like this and cut off.
(43:34):
Always leave you before you're ready. And I groped hot.
My feet changed in the MUDs, and I stumbled and
fell to one knee. I stayed there, my head buried
in my arms. I was there for a long time,
whilst the world of swaring fog in a crashing wave,
lost in a lonely passed, and the red mass tightened
(43:55):
into my brain. Suddenly, something came round through.
Speaker 2 (44:00):
A small dark show purpled on me, and I realized
it was a dog, a friendly terrier. I struck a
children held a clip, and then there were foot steps
coming over the sand.
Speaker 1 (44:15):
I could see my blood begin the pound with excitement.
Where there was a dog, there was a master or mistress.
The sound of the steps came closer, and then she
stepped forward out of the fog. I looked up from
the door and said hello, and then I smiled. She
(44:36):
couldn't know. Behind that smile lay my.
Speaker 2 (44:38):
Hacred of Laurel, my hacred of rub my acred of Sylvia,
my hatred of Latna, of every one in the whole
living world, of everyone.
Speaker 1 (44:48):
But Brucie. And Brucie was dead, Laurel. But last night, Laurel. No,
(45:11):
it isn't Laurel. What brings you brub Am? I invited in? Yeah,
of course? So now, yeah, anything wrong, Penny wrong? This
is Chilviia. What makes you think it is? Well, I
don't know. You look so worried. You mean you mean
you don't know what's happened. I don't know from nothing.
(45:33):
I awoke to a beautiful morning, the birds singing, the
California sunshine, and I decided it was a day for
the beach. I've been out there all day riding the breakers.
Wonderful you were at the beach today? Sure, what's wrong
with that?
Speaker 2 (45:47):
He was out again last night, this trainer. He did
it on the beach, bro again. A little Banning girl,
Betsy Banning. You remember the girl who looked like Boosie. Yeah,
I remember. I get him and I will get him.
I'm gonna kill him and then I kill him with
my hands the way he likes to do it. Oh,
(46:09):
I take it easy, Rub, would you like a drink?
Speaker 1 (46:12):
She always took her dog out for a run at night,
no matter what time it was. She wasn't afraid. She
was like Sylvia.
Speaker 2 (46:19):
The ocean was always something safe, something good. And she
had her dog and the dog buried in the sand, dead,
strangled old fellow right on time, just about a month
on the nose every month. And no clues on the sands,
no no clues, no buttons, no fingerprints, no cigarette stubbs,
(46:40):
no metropolders, not even a calling card.
Speaker 1 (46:41):
Well, there's not.
Speaker 2 (46:43):
Much I'm good for at a time like this, but
if there's anything I can do, Rub, anything that was
in the neighborhood. I had to stop by him talking.
I'll be going now, Thanks Dix.
Speaker 1 (46:54):
Anytime, Rub, you know that anytime.
Speaker 2 (47:03):
The sand had been my first mistake, for sand was
an evil, penetrating thing and could never wholly be rid
of it. If dust could tell a story, then sand
screamed out its secrets aloud.
Speaker 1 (47:14):
That was why the morning afterward early I had gone
down to the beach and spent the whole day there
in the sand. That was why I had been ready
for bread when he came. That was why. I was
ready for the whole La police force if they wanted
to come. After brub left, I went out of the
house and drove to the cleaners on Peco and left
a bundle of dirty clothes, and I ate Bevely and
(47:34):
afterward went into Warner's Theater for a double bill. On
the way home, I thought I was being followed a
large gray sedan that stayed with me for three miles
before I was wrong. We were together in a red light,
and when it changed, the sedan shot ahead of me
and disappeared into the night. I slept without dreams, and
didn't wake until late afternoon the next day, and still
(47:58):
Laurel hadn't come back. Do you love me? I'd ask him,
and she'd said yes. She died in my face and
in my arms. I hated her, a cheat and a liar.
No one said, No one ever cared.
Speaker 7 (48:15):
Only was dead who had left me alone alone forever
for all of my life.
Speaker 1 (48:38):
Missus Steele. Yes, Captain Lackner would like to see you
up at the station if you don't mind. I don't
mind at all, but take your time. There's no hurry.
Well that's all right, I'm ready. Now you can follow
me in your own curve, right, it doesn't matter. You
might as well take yours. You know the way, don't you? Oh? Yes,
I know the way. So they wanted to look at
my car by a lock. That kept me occupied. I
(49:03):
laughed out aloud, driving over. Let them crawl, so I'd
let them look at the sand and the dust, let
them make casts of the tires. It didn't mean a
thing to me. It only made the game more exciting.
But maybe you could help us steal. I'd be glad
to captain you name it. It's a Bruce case. The
understand you know it? Yes, yes, Rob and I both
(49:24):
know it. Wonderful girl. I've been doing a good deal
of thinking about miss Bruise. Rob told me your idea.
It could have been the same man.
Speaker 7 (49:32):
I got a list here of American men who were
friendly with the Bruce girl, and we're all in England
when't happened.
Speaker 1 (49:38):
Just look at over. See what you can remember about
these men. Anything you might have said him. Oh, I
see Brub's name is Honor. Yeah, mind him that you'd
been transferred before then exciting. My transfer wasn't completed until
after I got back from Scotland. I had a month's
leave accumulated. You came home after them? No, no, no no.
(50:00):
I was sent to Paris and into Germany on the cleanup.
I was overseason another six months. You've what about the
men on that list. I can't tell you a thing
against any single one of them. They were all good men.
Not one could have had anything to do with this.
It's impossible, Okay, okay, but I has been telling me
the same thing. It's another did end.
Speaker 7 (50:18):
Well, that's enough for the day and I'm going home
to sleep for twenty hours.
Speaker 1 (50:23):
Thanks for coming over, the boy, DICKX. Why because I
stood up with the fellows. You did too. We had to.
I never knew about Scotland. I'd you like it up there.
It was wonderful because she was with me, Brucie. She
loved it there, and I loved her. The car was
(50:54):
where I left it. If the police had gone after dust,
they hadn't taken much. The floor mat was no cleaner
than it had been before. I went home and sat
in the living room watching it get dark, not bothering
to turn on any.
Speaker 3 (51:05):
Of the lights.
Speaker 1 (51:06):
There were no slips, no mistakes. There had never been
in me, there never would be any I go back east.
I get my trunk off tomorrow by express, and then
I go by plane by Brad Sad, Bye, Sylvia, thanks
for the money. Ride the first I'd find a room
not too far away and hold up for a few days.
Once I was gone, Laurel would come back to her apartment,
(51:28):
and I'd be waiting in the shadows. I'd take care
of Laurel.
Speaker 2 (51:34):
I sat there in the heavy darkness, my finger is aching,
my head banded by iron.
Speaker 1 (51:39):
They were footsteps outside. No Laurel, a man coming home
late from the office.
Speaker 2 (51:46):
But she might come tonight. I've been cleared, but the police.
No one need be afraid of me. Tonight she might come.
Speaker 1 (51:53):
I sat behind the dark window, hardly breathing. When I
heard them coming, clicking on the pavement. I pointed heels,
looked out, slacks, the careless code over the shoulders of
stuff to mask her flaming hair. Out the door, stepping
softly through the windows, coming up behind that. So you
(52:14):
decided to come back? Turn around? Look at me, Silvia, Yes, Sylph.
Where's Laura? Where's Laura? What have you done with it?
Speaker 4 (52:26):
Laura's all right, Dick, She's all wrong.
Speaker 1 (52:28):
Where is she? Where is she?
Speaker 4 (52:30):
She isn't coming back. She's safe and she's going to
stay safe.
Speaker 1 (52:33):
So you poisoned her against me because you hate me
from the beginning.
Speaker 4 (52:36):
You hate me, No, Dick, No, only I did feel
something was wrong with you. From the first night you
walked into our house. I knew something was terribly wrong.
Speaker 1 (52:44):
What could you know? What jealous name? You couldn't even
stand to see Brub have a friend like me. Wanted
me all for yourself, didn't you? And now Laura, you
take her away from me.
Speaker 4 (52:53):
You came to us because she was afraid, afraid of
you and what you might do.
Speaker 1 (52:56):
That's a lie, is it? Dick?
Speaker 4 (53:00):
Tell me what happened to the girl who had coffee
in the drive in me? What happened to the girl
in Wesley Park, the girl down on skid roll?
Speaker 1 (53:11):
Sylvia, I'm going to kill you. We were all in
(53:38):
my apartner Lochner and Brub and Sylvia and some of
the boys I had seen from the Beverly station. They
put on the lights and sat me down on the
die there, and they stood around looking down at me.
All of them were Sylvia, and.
Speaker 2 (53:55):
They stood between me and the chair in which she
sat huddled and the lockdown looking down to talk to me.
Speaker 7 (54:02):
I'm arresting you in suspicion of the murder of milerd Atkinson,
that's very funny, and suspicion of the murder of Betsy
Banni and the attempted murder of Sylvia Nikolai.
Speaker 6 (54:14):
Have you anything to say?
Speaker 1 (54:15):
Yes? I think you're crazy. Listen to me, Dix. It's
no use.
Speaker 2 (54:19):
We have Mildred Atkinson's fingerprints in your car. There's only
one way they could get there.
Speaker 1 (54:23):
Would you be lying? You an old friend just to
trap me? And we have the dust? Do you know
what a good lawyer could do with your precious dust?
I'm not through, Dix.
Speaker 2 (54:32):
There's quite a bit of lint from the Atkinson girls
coat lint, and there are hairs from Betsy Banning Scottie
dog withound them on the seat you took to the clingers.
Speaker 8 (54:45):
But you can't think of everything, prop especially when you're rushed,
when your luck runs out, Di Dix, look at me.
Speaker 1 (54:56):
Why did you do it? Why was it because your
love brew and she wouldn't have you? Is that what
sets you off? Is that what made you do it? Brap? Why? Dix?
Tell me why because because I killed Brucie.
Speaker 2 (55:32):
This is Robert Montgomery again, with thanks to our cast
for their splendid performances. Next week for suspense, we've chosen
the story with triple threat possibilities. The title, the story,
and the author, taken by themselves, are enough to command
our interest. In combination, they become a dramatic force powerful
in suspense. I speak of Nightmare by William Irish, a
(55:53):
story which fuses reality.
Speaker 1 (55:55):
With unreality and a frightening pattern of fear and suspicion.
Speaker 2 (55:59):
If you've ever had nightmare, you know its impact, you
know the difficulty with which you cast it. Aside, if
you've never had a nightmare, we cordially invite you to
have one on us next week, when with Nightmare by
William Irish, we again hope to.
Speaker 1 (56:12):
Keep you in suspense. Good night, mister Montgomery.
Speaker 9 (56:16):
May currently be seen in the Universal International production ride
The Pink Horse in a Lonely Place by Dorothy B.
Hughes was adapted for radio by Irving Ravitch, directed by
Anton M. Leader and produced by Robert Montgomery, lud Gluskin,
his armyusical.
Speaker 1 (56:31):
Director and conductor, and Lucian Morroweck composes the original scores.
Speaker 9 (56:36):
Next week, here Nightmare on radio's outstanding.
Speaker 1 (56:39):
Theater of Thrills, one hour of shush fends.
Speaker 2 (56:56):
Remember to give gladly to the nineteen forty eight Red
Cross spot.
Speaker 9 (57:00):
This is CBS where I dinign million people gather every week.
Speaker 1 (57:03):
Look, i'mb a broadcasting system
In a lonely Place, My Dorothy, be you. This is
Robert Montgomery.
Speaker 2 (00:11):
The other day a friend of mine repeated a familiar phrase.
He indicated the travel folder on his desk and said,
with a kind of triumph, I'm going to.
Speaker 1 (00:19):
Get away from it all. He's lucky, my friend is.
He's going to change the scene, the whole scene.
Speaker 2 (00:26):
New horizons, new vistas, new people or no people at all,
new thoughts or no thoughts at all. He has a
rendezvous with a cloudless sky and a peaceful stream and
the easy whisper of the wind.
Speaker 1 (00:40):
Only time stands between him and the fresh beginning. Indeed,
he has a lonely place where there is no loneliness. Yes,
my friend's lucky.
Speaker 2 (00:50):
He can get away from it all with a simple
change of scene, and he has no fear of being
alone with his thoughts. It isn't like that with Dixon Steel.
It isn't like that at all.
Speaker 3 (01:03):
And so with the performance of Robert Montgomery as Dixon Steel,
and with our play in a Lonely Place by Dorothy B. Hughes,
we again hope to keep you in suspends.
Speaker 2 (01:23):
I stood there at the foot of sunset, at the
end of the city of Los Angeles, looking out.
Speaker 1 (01:28):
Through the evening fogged at the Pacific. The swirling mists
kept lifting themselves like gauzy veils, coming up to touch
my face. There was something in it like flying, the
sense of being lifted high above the crawling earth, of
being part of the wildness of air, and something more
of being wrapped tight the strange world of fog and
(01:51):
cloud and wind. I had liked flying at night, but
the war's ending had finished that.
Speaker 2 (01:59):
Since then has it left me that feeling of power
and exhilaration and freedom that came from being alone in
the sky. But here tonight, at the edge of this noisy,
fog drenched ocean, I had it again.
Speaker 1 (02:19):
Then I turned away. I was already late for my
appointment with Brub and his new wife.
Speaker 2 (02:25):
I walked past my coup, parked at the curb, and
went up the path to the little white cottage.
Speaker 1 (02:30):
The lights from the living room windows made little concentric
circles in the heavy fog.
Speaker 3 (02:35):
It would be good to see Bub Brub again, you
old son of a secret.
Speaker 1 (02:40):
What do you mean by not calling this before? Now
let me see you. It's the same boy, Brub. I
haven't changed a bit and either of you. I'm sure
I have for the better, and this is why, Sylvia.
This is Dix, Dix and Steeve. Hello, dick Ow.
Speaker 4 (02:54):
We're all friends. Really, You've been Grubb's favorite topic of
conversation as long as I've known.
Speaker 1 (03:00):
Flew together, Sylvia. Rob took care of me like a
big brother. You needed some looking after, Colonel Steele remember
the night and sold if later missed it, and it's
not colonel anymore.
Speaker 2 (03:09):
The Army made me a gentleman, gave me the only
mark of distinction I've ever.
Speaker 1 (03:13):
Had, and then took it away from me.
Speaker 2 (03:15):
Say why didn't you tell me you were married into
such a lovely girl?
Speaker 1 (03:18):
Thank you tell you?
Speaker 2 (03:19):
You called me up five months ago, last April the eighth,
to be exact, told me you'd just get in and
let me know as soon as.
Speaker 1 (03:26):
You were located. That's the last I heard. You checked
out of the Ambassador three days later, and you didn't
leave a forwarding address. I could I tell you anything?
Keeping tabs on me, brother, uh, trying to find you,
you crazy lover, And here I am. It's like being
home again. We'll brief me, boy, what have you been doing?
And how's it going slow, Rob Slow.
Speaker 2 (03:44):
I've got a little apartment in the car and the typewriter.
Speaker 1 (03:48):
That's about it. The typewriter is a new touch.
Speaker 2 (03:50):
Try to write a book like ninety percent of the
other gis the detective novel. My rich uncle Fergus back
east is taking me for a year to see what
I can do. He calls it giving me a hand
over the period of my readjustment.
Speaker 1 (04:03):
So that keeps me busy most of the time and
the rest of the time. The rest of the time,
I hardly know what to do with myself.
Speaker 2 (04:12):
You were a hot pilot in England, Dix, and just
a kid at that sure going to take a little time.
Speaker 4 (04:18):
Did anyone care for something to eat or drink cold beer?
Speaker 2 (04:21):
We huggs not at the moment. I'm too relaxed. We
were a casual generation, Dix. I put us in the
middle of something that wasn't very casual. There's bound to
be a reaction.
Speaker 4 (04:31):
Oh, Brub's always looking for the hidden motive power.
Speaker 1 (04:35):
That's because he's a policeman. A policeman or not a policeman. Now, Darling, detective,
what happened to you? Broh Oh? My old buddies ask
me why? And I can't help them. I don't know why.
Speaker 3 (04:49):
All I do know is it's.
Speaker 1 (04:51):
Rotten hard work.
Speaker 2 (04:52):
So the things men do, you with a badge and
me with a typewriter, And that reminds me I ought
to be getting back to it.
Speaker 1 (05:00):
Oh, but it's still what's the hurry, dicks O.
Speaker 2 (05:02):
Brubb will want his rest, Solvie if he's going to
dig around for the glory of the La Police Force.
Speaker 1 (05:07):
It is La, isn't it, bro It is indeed? Then
you do need some sleep, play your work in La.
No funny, I'll be seeing you two.
Speaker 4 (05:15):
Well, good night, Dick. We'll expect you to come off.
Speaker 1 (05:18):
Hey, wait a minute, we don't have your number my number. Sure,
we'll want to get in touch. Oh yeah right, Crestview
nine eight nine eight nine o eight nine eight. You'll
be hearing from me, Dixon. I'd be hearing from Brub,
And why not, good old Brub with his tired eyes
(05:39):
and rumpled hair. Brub had been my big brother, but.
Speaker 2 (05:44):
He hadn't known everything there was to know. Some things
a man keeps secret. It's amusing to keep something secret.
I wondered if they were surprised by Michaelickenson.
Speaker 1 (05:56):
But I had to get out of there. I couldn't stay.
Speaker 2 (05:58):
I had to figure things out. So Brub was a
detective now, and he had my telephone number. There's something
amusing about rub being able to lay his hands on
me whenever he wanted.
Speaker 1 (06:12):
Amusing and more exciting than anything that had happened in
a long time. The hunter and the hunted, arm in arm,
the hunt sweetened by danger.
Speaker 2 (06:26):
I was driving slowly, hugging the curb, and then I
saw her, a girl, an unknown girl, standing alone, on
the corner of Campden Drive, waiting for a bus.
Speaker 1 (06:38):
And busses didn't run off ten out here at night.
I pulled up a block ahead and got out, shutting
the door so it made no sound, and then I
walked back toward her. She heard me coming in the fox.
Speaker 2 (06:50):
She turned her face to me, smiling a little, glad
to have someone to share the darkness and the silence
with her.
Speaker 1 (06:57):
I walked up to her slowly, and I was smiling back. Yes, hello, speaking,
(07:17):
was it Sylvia, recognize your voice?
Speaker 2 (07:24):
Oh?
Speaker 1 (07:24):
I guess I slept through it. I was up late
last night working on the book tonight. Oh fine, fine,
what time, buddy.
Speaker 5 (07:39):
Thanks?
Speaker 1 (07:39):
You had me a little worried my dinner coach rank
while I was away flying to Well. Thanks for calling, Sylvia.
I had slept late.
Speaker 2 (07:54):
The day was almost gone. The apartment was already in shadows.
The afternoon paper was on the lawn just outside my window.
Speaker 1 (08:03):
The paper.
Speaker 2 (08:05):
I drew on a robe and ducked out quickly, and
I was back in the room, standing in the middle
of the floor, holding it still folded in my hand,
listening to the blood hammer in my head.
Speaker 1 (08:14):
I switched down the floor lamp and sank down into
an easy chair. I lit a cigarette and I took
a deep drag, and I unfolded it. That was all
I had to do. It lay spread open in my lap.
They'd found their biggest type for the headline. Strangler strikes
(08:37):
again us over here, Sylvia. Where's proud be detained?
Speaker 4 (08:55):
Like being married to a doctor?
Speaker 1 (08:58):
There he is now, sorry to be late, Darling. Hello Dix,
mad you could joined us.
Speaker 4 (09:03):
You look exhausted a day.
Speaker 1 (09:06):
Haven't you seen the papers? No, I didn't get a chance.
Why it's another one? Oh well, what's it all about?
Another woman kild the same way.
Speaker 4 (09:15):
Did the commissioner call you?
Speaker 1 (09:17):
Yeah? The whole department. We've been with him since five.
We got to stop it stop. Oh, wasn't someone important? No, no,
it never is. Oh I forgot you were just a
visit her Dix. You see. The only pattern we can
find is in the time schedule.
Speaker 4 (09:32):
They come one a month regularly, must be start Rob, wouldn't.
Speaker 1 (09:37):
You like to order in a minute? Baby?
Speaker 4 (09:38):
I went on wine, I have a high ball anyway, Malcolm, Yes,
missus Nichola three Scotch and SODA's Malcolm.
Speaker 2 (09:44):
We know the lead.
Speaker 1 (09:47):
The first one was about four months ago, May to
be exact.
Speaker 4 (09:50):
May sixteenth, the night before my birthday party.
Speaker 2 (09:53):
It was a girl down on the skid row. She
was a nice enough kid, dancer in a cheap joint.
And found her in an alley strangled.
Speaker 1 (10:00):
And that was number one. Yeah, in June, number two
we found her in Westlake Park. Wasn't any reason for
a nice, normal girl, young and attractive. She'd been killed
the same way and no clue. And then the others.
Speaker 2 (10:13):
Last night was the fourth, no mode of no connection
between any of them, and never the same neighborhood. Last
night Beverly Glen Canyon up where its country. She was
lying in the brush at the side of the road,
We're about five hundred car tracks superimposed on that particular stretch,
so it wouldn't do any good to lift them.
Speaker 1 (10:29):
And but we've got one clue, a great one. We
know the killer uses a car. How can you tell?
Speaker 2 (10:33):
Bro Well, her name was Mildred Atkinson, and she'd been
playing bridge with three girl friends in Beverly. At eleven,
she and another girl went out to the bus stop together.
Friend caught a Wiltshire bus and left Mildred behind waiting
for a Hollywood lit. So how did she get up
to the canyon where we found her this morning?
Speaker 1 (10:50):
It's a long way. The answer is she went for
a ride. Where's that drink?
Speaker 4 (10:54):
Just another minute ago?
Speaker 1 (10:56):
Los Angeles is too big toops sprawling. You can't patrol
every street every night. He's safe.
Speaker 4 (11:02):
He's insane, of course.
Speaker 2 (11:03):
Sure he is a maniac walking in the streets, mild
mannered and soft spoken and looking as normal as anyone
a homicidal maniac. I sat there watching Rob's angry black
eyes and Sylvia's white, pallid face.
Speaker 1 (11:18):
He's insane, of course. Their imaginations were poor, blunted little things,
reaching only as far as the obvious. He's insane, of course, so.
Speaker 2 (11:28):
That was to be the chorus what could they Know
the world of Imagination and Beauty, in which a scene
man as sane as any could.
Speaker 1 (11:36):
Kill and kill again. Don't you like it?
Speaker 6 (11:39):
Ranked it?
Speaker 1 (11:40):
What? Oh? Sure? Faster than the far yeh boy? But
I know why do you? It could have been that
little Banning girl over the next table. It could it
be that she reminds you of someone. I don't know
what you're talking about, broub What girl or what? Then?
Now he sees her?
Speaker 4 (11:55):
What's the mystery about Betty Banning?
Speaker 1 (11:58):
Dick? Now, no, Darling, It's just she's a dead ringer
for another girl we used to know in England, especially Dick.
He knew her. Well, Am I right? Yeah, yes, you're
right little Brucie. This this girl is so much like her.
You're wrong, Dick. She's not as pretty as Brucey. Don't
you remember? Remember? Yes, I remember Brucie, but I didn't
(12:26):
want to remember Brucie, Brucie of the Sea green Eyes,
Brucie whom I had loved and wanted and needed. No,
I'd been through it before. It was now that mattered.
Speaker 2 (12:38):
It was today in southern California, six thousand miles away
from her, with something else hammering in.
Speaker 1 (12:43):
My head to be looked at him, examined what. Oh, yes, tires,
they were good tires. No patches, no distinguishing marks. Robert
said it himself. They couldn't get tire marks from dry concrete.
I hadn't thought so.
Speaker 2 (12:58):
Still I have made sure certain gambols are legitimate, like
taking Mildred to that drive in last night, gambling on
the muddled memory of waitresses who served hundreds of average
looking men and women every day, every night.
Speaker 1 (13:13):
Sure it was a risk, but risks were like.
Speaker 2 (13:17):
Spice, like stump flying, as long as you used them
like spice, fearingly, like stunts, planning them with precision.
Speaker 1 (13:25):
I could afford to take risks. I just couldn't make mistakes.
I left the club right after dinner, got back to
the apartment early. I pulled up in front and got out.
Speaker 2 (13:39):
I started up through the patio to my place at
the rear when I saw I wasn't alone out there.
Speaker 1 (13:44):
She was hurrying in, not noticing me, and the blue light.
Her hair and her slacks and her jacket were all blue,
different depths of blue. I did it out of impulse,
without thought, I beg your pardon.
Speaker 4 (13:58):
Who who is it?
Speaker 1 (14:00):
I'm your neighbor. My name is Steele.
Speaker 4 (14:02):
So your name is Steele?
Speaker 1 (14:04):
Did you drop something? I don't know? Did I? No,
you didn't. It's just conversation. Try again another time. No, no, no,
Wait a minute, Wait a minute. I just lost my
dinner date. I thought maybe you'd lost yours too.
Speaker 6 (14:17):
Sorry, mine will be here any minute.
Speaker 1 (14:20):
You've got red hair. I didn't notice that. It's no secret.
Like I said, I'm your neighbor. Four A. If you
do ever loser dinner date, let me know.
Speaker 4 (14:31):
I'll be sure to make a note of that.
Speaker 1 (14:34):
Good night.
Speaker 2 (14:38):
I got some cold beer and some cheese from the
refrigerator and break myself over the dive van.
Speaker 1 (14:43):
The night was a scorcher a Los Angeles September night.
I lay there eating and drinking and waiting for it.
Not that I thought for a minute it would come,
but I was waiting for it, and it did come. Ah,
it's you, I've just lost. Oh, come in, come in,
(15:07):
maybe you'll find me.
Speaker 7 (15:09):
I hope not.
Speaker 6 (15:10):
I told him I had a headache and was going
to bed, and that I was just connecting the phone.
But I still want dinner.
Speaker 1 (15:16):
You mind. If I finish my beer, go ahead. I'm
Dick Steele. Who are you?
Speaker 4 (15:26):
My name's Laurel, and that's all you get for the
time being, Laurel.
Speaker 1 (15:31):
I don't mind beginning at a crawl. I suppose you're
in pictures. Not often.
Speaker 4 (15:36):
I don't like getting up morning.
Speaker 1 (15:38):
No, I don't need that. That's why I'm a writer.
Why'd you come by, Laurel?
Speaker 6 (15:42):
Because I'm hungry, and because tonight I didn't want to
sit opposite a man who's rich in sixty and eats
oat meal.
Speaker 1 (15:49):
You have a grudge against money, No, only against.
Speaker 6 (15:52):
The men and women who go with it, people who
think that everything in life is for sale.
Speaker 5 (15:57):
I hit them.
Speaker 1 (15:57):
Sometimes they pay their rent and the jeweler. They don't
pay mine. How did we get on the this? Haven't
you finished THEE? THEE? Yet?
Speaker 2 (16:07):
All finished? And already let's go, Laura? We ated Carls
out on the road to Malibu.
Speaker 1 (16:17):
We didn't say much.
Speaker 2 (16:18):
We ate and smoked and had coffee, and I watched
what the lights did glinting on.
Speaker 1 (16:23):
That red air. When we left there, I knew it.
I knew it was the beginning of something, of something good.
She was beside me, and with me, and that was enough.
Speaker 2 (16:34):
I'd needed her for a long time, ever since, Bruce.
That's how long this girl, this Laurel, could make it
up to me, could make me forget.
Speaker 1 (16:45):
I parked on an open stretch, overlooking in the dark
beachs in the ocean. She wanted to go down closer,
so we left the car and struggled through the sand
down to the water's edge. I held her hand tightly,
spinned the sorted our lips.
Speaker 2 (16:59):
They haven't done with a little.
Speaker 1 (17:01):
Having fun.
Speaker 4 (17:02):
Oh wonderful. You can really smell the ocean here.
Speaker 1 (17:05):
Breathe, Dix, breathe, Laurel. Would you laugh at me if
I said I was happy, that I never thought i'd
be happy again, that I didn't think I could be. No, Dix, Laurel, Laurel,
You're wonderful, Laurel, Come here, come here. Hello, Hello, Dix,
(17:47):
it's probably did I break into You're right?
Speaker 2 (17:49):
No?
Speaker 1 (17:49):
No, not at all. What's up? Who was that redhead
I seen you with last night? What are you talking about?
Why did you see me? You didn't see us. We
were pulling out a Carl's restaurant when you went in,
and Sylvia spotted you, and I spotted the rest. There
are always people looking, Rob, They're always eyes to see. Sure, boy,
you can't take a step in this world, you know that. Listen?
(18:09):
How about much? Fine?
Speaker 3 (18:11):
Fine? What time?
Speaker 1 (18:12):
And where? Now? At the Beverly Hills Station. Beverly Hills
Station place station, Kid, pick me up there? Okay, Rob,
I'll see you there. Noo, there was a nice station
you got there, Frob, like flowers and shrubs and a
(18:33):
white facade.
Speaker 2 (18:34):
It looks like a small Eastern University. Beverly Hills is
just a small town that's almost a village.
Speaker 1 (18:39):
But of course its first rate. I'll be working out
there from now on. How's the case coming in case?
Oh that and it's a dead end. I'm afraid you
mean you're closing the books. H We don't ever close
the books. After the newspapers and all the rest of them,
forget it. Our books are still open. That's the way
(19:00):
it is. That's the way it has to be.
Speaker 2 (19:02):
I guess there's been tough cases before we find the answer.
Our department said, cases running ten twelve years. Sometimes it's
just because we're waiting for the next move, but we
find them.
Speaker 1 (19:13):
This is Dick so O Powell. Remember what he's trying
to tell me that the criminal doesn't escape. That's right,
one way or another. East caught.
Speaker 2 (19:20):
Sometimes it's because he's caught there in that lonely place,
living with himself. So it ends in suicide or the
insane asylum.
Speaker 1 (19:26):
But there's no escape. You were saying the other night
that this killer is insane. He is. I can't figure it.
He's been pretty smart, hasn't he. The insane are more
clever about their business and more careful too, than the same.
Speaker 2 (19:40):
It's normal for them to be sly and secretive. That's
part of the menia. But they give themselves away. How
you like a fapple pie?
Speaker 1 (19:48):
That's like Mom used to make. How do they give
themselves away? And they repeat the pattern? Now take the strangler.
Look at this pattern. I don't see any I must
be writing a lousy detective. Now, okay, look it's a
girl at night. Hello. He comes along in a car,
She accepts a ride. You're positive about the car. It
has to be.
Speaker 2 (20:07):
My theory is he didn't use it on the last
one on Mildred until he'd made the approach on foot
and lulled her. She was waiting for a bus, and
he's waiting on the same corner and gets talking. He
invites her to have a cup of coffee, and then
he mentions his cars and par away and he'll give
her a lift.
Speaker 1 (20:21):
He takes her to the drive in Drive in What
drive in? Oh, that's something new.
Speaker 2 (20:25):
One of the car hops recognized Mildred's picture. After the
storm broke. She remembered her coming in with a man
in ordering coffee.
Speaker 1 (20:32):
Good girl, that's a big health it is. And the man?
Did she remember him? It could be you or me
or our grandfather's. No, she couldn't remember. Well, half a
loaf is better than.
Speaker 2 (20:43):
I I've got to go up to Beverly Glenn, the
scene of the crime.
Speaker 1 (20:47):
Want to come along? I had a date.
Speaker 2 (20:49):
Come on, I can give you a better idea of
what we're up against. All right, I'll charge it up
to research on the book.
Speaker 1 (20:55):
Good show me to take your car a mine? What
was that my car? Why was Brun's suspicious? Did he
want my car back up on that street? That street?
Was this lunch arranged? No, I'd already hesitated too long
in answering. It couldn't matter at which car. It had
(21:17):
been too late and they were foggy. Did you say something, Brob,
I'm sorry, And thinking about the redhead, I said, whose
car do we take? Yours are mine? Oh, you might
as well take mine. No, you don't mind another passenger.
Hot 's all. And the chief wants to come along,
Jack Blackner. We'll come back by the station for him.
(21:41):
We flung out towards sunset, all three of us up front.
Lockner was a tall, thin man with whispery gray hair.
He didn't look like the chief of anything. I drilled carefully.
I supposed the thing to do with cops. Besides you,
I stayed for a ride. Yeah, okay, so I'll shut up.
(22:06):
This is a turn right, Beverly grin. My hands began
to sweat.
Speaker 2 (22:11):
If Rob hadn't called out, I knew I would have
turned out that street myself automatically. And I was a
visitor from the east who didn't build the country very well.
Speaker 1 (22:19):
There was tension in my hands and arms, fear that
I might recognize the place at the side of the
road and react to it. And then slowly I relaxed,
realizing that I didn't know the road, that I could
never find the spot even if I wanted to, for
it had been dark. We climbed into the valley. There
(22:42):
was a chill in the air, and the sun was
far away. Nobody spoke.
Speaker 2 (22:47):
These two men were on a case that had them
tired and sore. It wasn't a time for a conversation.
Speaker 1 (22:53):
Piece. I drove on waiting for somebody to tell me
to stop. Yeah, just pull up along here, mister Steele,
if you will. Yeah, is uh this way? You found
(23:15):
her right there in the brush. You see how think
it is in here? He'd have known that.
Speaker 2 (23:21):
He'd have figured that she wouldn't be found for a
long time. With the leaves falling on her, covering her
every day, there'd be more leaves. Not many people look
off at the side of the road when they're driving,
not unless there's something scenic to look at.
Speaker 1 (23:34):
This canyon had be perfect. Then how is she found
so quickly? Look, milk man picked this spot in the
world to have a flat to killer. Figured that's smart.
See how the road curves here, Well, he could.
Speaker 7 (23:45):
See any lights coming from behind two loops below, and
he can look up to the top of the hill
see the lights of a car approaching him.
Speaker 1 (23:53):
When it takes the first of those two curves. He
can sit with her in the.
Speaker 7 (23:58):
Car looking like the spooner until the other cars go by.
He was playing it safe, so he does it. He
opens the door of the car, he rolls her out
in the leaves, and he's away. No chance of being
caught at it, and stangling is the easiest way.
Speaker 1 (24:16):
Yes, yeah, that makes sense. How about it? Don't find anything?
The experts have been over every inch of their microscopes.
Speaker 7 (24:24):
He won't find anything. But he wanted to have another
look around, so I came along.
Speaker 1 (24:29):
Well, it seems hopeless to me, mister Lockney, if there's
nothing here. Of all places, where can you look? Only
one place we'll find anything? And where's that? In his car?
In the murderous car. That's where the evidence is right now?
Not to send into the gas chantel cigarette, captain Locky, Okay, okay,
(24:55):
you you haven't been able.
Speaker 7 (24:57):
To get a description of that car yet, have not yet.
We're working on the people at the drive in. One
of them is going to remember and when you.
Speaker 2 (25:04):
Find it, then you will go through for those clues
that you were talking about hairpins and lipstick, No, mister Steele,
nothing like that. What then, dust, mister Steele, dust? You
heard the man Dix? He said, dust like this stuff
all over me.
Speaker 1 (25:18):
No matter how much I beat it, I can't get
it all out. Yeah, that's dust.
Speaker 7 (25:23):
We've got dust from the drive in, dust from her
clothes and her shoes, and dust from here from a
little ticket off of Beverly Glen.
Speaker 1 (25:30):
Three different kinds, and all of them in hay Scott.
That's really fantastic. And even in ten or twelve years,
the dust will still be there, some of it will. Yeah,
you want my opinion of this case, gentlemen, The strangler
doesn't have a chance. I swung the car around and
we rolled back down the canyon and into town. They
were sitting beside me again, up front, sitting on the
(25:53):
dust they.
Speaker 2 (25:54):
Wanted so desperately, breathing it into their lungs, having it
settle on the flesh of their hands and their faces,
and then their hair. The golden little molecules that would
send the stranger to the gas chamber floated gently and
unseen before our eyes as.
Speaker 1 (26:07):
We drove back, and I felt good. My hands were
easy on the wheel, I could be talkative now I
was expected to be curious and impressed. I would come
back to it again. Did it help you, Brud? Coming back. Nah,
I didn't find anything. Didn't expect him. You know something.
(26:29):
He's from the East.
Speaker 5 (26:30):
It although you mean the waitress recognized an Eastern.
Speaker 2 (26:33):
Accent, No, it just like anybody else. No accent, that's
just Lackner's reconstruction.
Speaker 1 (26:38):
He's from the East. I know that he's a mugger.
I'm afraid I don't follow you, cap'n. What's a mugger?
Speaker 2 (26:43):
Certain gangs used to operate in New York. One man
would get the victims, so you see, with his right arm,
and the others had rob him until they found out
it could be a one man job. You don't need
more than two fingers to strangle a man or a woman.
Speaker 1 (26:56):
He's a mugger. He doesn't use his fingers or on
any finger marks. He used his arm. He's from the East.
As a fellow Eastern here, Caplock, you must admit that
a Westerner could have learned the trick. I've seen the
way they did it in New York. He knows how
the same way. I think You're right. Luck, we keep
getting closer, will miss Steel. I'll get out right here,
(27:17):
all right. Thanks we lived Steel, Thanks for letting.
Speaker 2 (27:23):
Me go along.
Speaker 1 (27:23):
I'll see you at the station.
Speaker 2 (27:25):
Bro Ever since this thing started, I've been afraid for her,
for her, you mean Sylvia.
Speaker 1 (27:38):
She's lived in the canyon all her life. She never
had any fear, wandered all over at any time of day.
But the canyon at night, the way the folks come
in is it's a place for him. And I'm scared her.
She's alone so much.
Speaker 2 (27:50):
I never know what hours I have to keep. You
know our street, how dark and lonely it is, and
the way our house is set up there. Oh, I
A'm the one who's scared. Dicks, I've infected her and
I can't but I can't pretend until we've caught him.
Speaker 1 (28:03):
She isn't safe. Sylvia isn't safe.
Speaker 2 (28:07):
I saw how it was with both of them, how
they clung together, fear in both of them, the woman
fearing to have her man closer on the heels.
Speaker 1 (28:17):
Of a murderer, and Rob afraid for.
Speaker 2 (28:20):
Her because she was a woman, because she was his woman,
and women were being stalked in the night. And yet
even though he was afraid, he would leave her because
he was a hunter and this was a big hunt.
Speaker 1 (28:37):
For wild game, Yeah, wild game. In tonight's full hour
of suspense. Mister Robert Montgomery stars as Dixon and now
(28:59):
back to our Hollywood sound stage and act too of
in a Lonely Place.
Speaker 3 (29:04):
Starring mister Robert Montgomery in a narrative well calculated to
keep you in sus pain.
Speaker 1 (29:20):
I was very tired, tired of thinking about Sylvia and
Brubb and the fear that had bound them as desperately
as their love for each other. I was weary of
the big hunt. Or I was hunting on my own.
I was looking for happiness. I spent the next few
days with Laurel. It got so that I didn't count
the hours anymore.
Speaker 2 (29:41):
All I knew was beauty, and I knew intensity, and
I called it happiness. And all the time I knew
it wouldn't last. I sensed the restlessness coming into her.
I could feel it, Dix, Dix.
Speaker 1 (30:01):
Did I stations law, Law? What is it you tell me?
You've been sitting there without a movie for more than
an hour, just daydreaming. Was it something nights? Tell me
about the radio? Dis it's making any noise? All right?
(30:25):
You like a drink? Yes? Please? Thanks? You know what
we ought to do tonight, go out on the town,
put on our Sunday best right, where do you want
to go to drive in? Text seem to be all
(30:52):
thumbs No, no, no, that's allry. I didn't want it anyway,
Oh baby, no drive in for you tonight. You're not
the drive in type? What type? Am I? The zero type? Baby?
Expensive and plush and chromium pleat it Zeros. That'll do fine.
I'll call a reserve a table for.
Speaker 6 (31:10):
Ten class savior money.
Speaker 1 (31:12):
You can take me to a drive in tonight. I
won't take you to a drive in?
Speaker 6 (31:15):
Why not?
Speaker 1 (31:17):
Are you afraid someone might see it? There? Is that?
Speaker 7 (31:18):
Why?
Speaker 1 (31:19):
What do you mean by that?
Speaker 6 (31:20):
I mean you keep me hitting away from sight if
we might run into some of your friends like that
Brup and Sylvia.
Speaker 1 (31:25):
If I wasn't good enough for you. Look, baby, relax,
you're not making sense. Didn't I say I wanted to
spread out tonight? Get get dressed up for once and
go to CEOs. Hide you away. You come with me
tonight and I'll show you off for everybody to see. No,
I'm tired. I don't want to get dressed and go places.
Speaker 4 (31:47):
All I want is to go up to the driver.
Speaker 5 (31:48):
We're not going to the drive in. We're not going
you're hurting me. Hello, Collo Dix.
Speaker 1 (32:01):
How are you fine? What's on your mind? Can you
come over to the house. I want to see you. Sorry, brother,
but I got a date tonight. I've just had a
letter from England Dixon. It's about Ruthie. That's right, Okay,
I'll be right over.
Speaker 2 (32:19):
It seems that I can't have dinner for you after all.
Oh right, you don't seem very unhappy about it. Law Yes,
I'm sorry if I.
Speaker 1 (32:31):
Hurt you again, It's all right. We haven't been softlovers.
We haven't played it that way. The world keeps coming
in between us. That makes me afraid. Why should you
be afraid because I might lose you.
Speaker 2 (32:49):
I have to keep telling myself to remember to remember
that I can't take any chances that I can't lose you.
Speaker 1 (32:58):
I can't, Laurel, don't be afraid, DICKX you see.
Speaker 4 (33:04):
I love you very much.
Speaker 1 (33:17):
Have a chair, Dix? All right?
Speaker 4 (33:19):
Did you care for anything to eat?
Speaker 1 (33:20):
No? Thanks, Syby, I just finished, remember Adam Tyne Dix? No,
sure you do. The flight commander from bad nice quiet fellow.
We saw a lot of him. That's spring of forty,
so we knew a lot of fellas over there, brother,
I don't remember.
Speaker 2 (33:33):
Well, it's not important, accepted. I've had a letter from
him first one and more than a year. It's a
sad piece of news, Dix.
Speaker 1 (33:41):
Let's have it. Brucie is dead. Brucie, it's dead. Brucie.
Speaker 6 (33:51):
Oh dead, Dix.
Speaker 4 (33:53):
I didn't know.
Speaker 2 (33:54):
I'm sorry, Dix. I guess none of us realized how much?
How much you and Brucie, we didn't know that.
Speaker 1 (34:02):
No ill could you? How could anyone know? How did
it die? Bus Bob's no? Well?
Speaker 4 (34:14):
How?
Speaker 1 (34:15):
Oh she was murdered. Murdered, Yeah, I murdered. Well why? Why? Who?
The police have never found out? Better not talk about it, Dix. Oh,
I want to talk about it. I want to know
who did it? Why should anyone kill Brucie. They don't know.
Her family missed her for two weeks. When she was found,
(34:37):
it was in a rocky cove. She'd been strangled. Brucie
was dead. Brucie, whom I had loved, who was my
only loves Brucie was dead, and no one cared. No
(34:58):
one in all the world cared except me. I called
(35:20):
Laurel when I got home that night. She didn't answer.
I stepped outside and looked up to her apartment across
the patio from mine. It was dark.
Speaker 2 (35:28):
She didn't come home at all that night, or the
next day or the next night.
Speaker 1 (35:32):
No word from her, not a sign. Nothing. Following morning
was a dirty gray rag. I called Laurel's number once more,
no answer. I had to get out of that cramp room,
away from the unremembered shape of my dreams. I didn't
take the car. I wanted to breathe, put motion into
my body. I walked as far as Wilsh's and then
(35:52):
went up to Beverly Drive in my favorite delicatesta Dick,
where'd you spring from? A guy gets hungry? Brother, how
are you?
Speaker 3 (36:02):
Captain?
Speaker 1 (36:02):
Locking? Fine? Fine, good to see you again, slid in? Okay, thanks?
Would you like to dardan ounce if you please? SLAMI
sandwich on rye and a beer please? Well more trouble
in Beverly. No same ocation and not going to let
it happen against that's all. And you think it comes
from this neighborhood. It's the last clue we have. We
(36:22):
pick up a little more each time a check. But
where do you check? How we've been talking to the
help again at the drive in where he stopped with
her that night, any lock, I don't know yet. These
neighborhood spots a lot of people combined to eat regularly.
I got to thinking about it. There must have been
some of the regulars around that night when he took
noted in for coffee, the nerv driving in there, coming
(36:45):
in under all those bright lights, and gambling that no
one would remember what he looked like like you and me. Bro,
an ordinary man, yeah, an ordinary man with the nerve
of a jet pilot. I see what you're after, Bro.
Have the help ask questions of the regular when they
come in. Were they at the drive in the night
of the murder? And did they see the couple? That's it?
(37:05):
And I suppose you're hoping this fella is a repeater too,
and that'd be a break if there's no chance, no
chance except for his nerve. You mean he might have
the nerve to walk in again. He might tax He
just might. And you think the help might spot him
if he did. I think they might.
Speaker 7 (37:20):
They're keyed up to remember mister Steele, the little carhop.
Gene your name is swear she'd know again. If he
came in, she'll know him if she sees him again, only.
Speaker 1 (37:31):
She can't describe him. That's the trouble with people in
these cases. You remember how it was when we were flying. Brother,
How do you mean you said yourself, he's a gambler,
he's reckless. I mean he'll take chances, like going to
that drive in before killing the girl. Well, it occurs
to me that it's the same kind of recklessness we
had when we were flying during the war. We took chances,
(37:51):
but we were sure that we'd pull out of them.
Mister Steele makes sense and something else. He's probably an
ex serviceman. How do you figure that? The people who
saw with the drive in or say he's a nice
looking fellow with nice clothes. At least that's what the
newspaper accounts have to say. Am I right so far?
Then it's ten to one. He's the right age, good,
healthy specimen average, the average we're in the service. I
(38:14):
know that's not a very brilliant deduction, but it fills
out the picture a little more. I'll buy that, mister Steele. Yeah,
I'm little too. Well, I'll be getting back to the office.
I'll be in a little later today, chief. Okay, by
the way, Captain Lockton, Yeah, every time I see you,
I seem to be asking a lot of questions. I
hope you haven't minded, not at all. Rob bouts here
(38:35):
a long time ago. You just keep asking. I will, Captain,
and thanks, and I'm late.
Speaker 7 (38:39):
Now when I check out those Bruce reports again, see
me as soon as.
Speaker 1 (38:43):
You get back. Right, here's your artist, I beg.
Speaker 4 (38:49):
Service.
Speaker 1 (38:50):
Oh, yes, thank you. Will that be all to pay? Yeah,
that's all your checks, sir, and thank you Bruce. It
is a pretty common name.
Speaker 2 (39:00):
There must be a hundred thousand in the United States
at least, and hundreds in Los Angeles.
Speaker 1 (39:05):
Yeah, he said he was going to check the Bruce reports.
It's not the same one, Rock. It couldn't be. Not Brucie.
Speaker 2 (39:14):
I'm sorry to take sign and know it's a raw wound.
I couldn't help talking to Lockner about her. It was
knocked off my pins when I heard the news and
I wanted to report on the case.
Speaker 1 (39:22):
I figured you'd won one too.
Speaker 2 (39:23):
If you were right then what happened the locked table
to the London police. He thought it did help us
that maybe Brucie was one of a series, like our series.
Speaker 1 (39:31):
It's far fetched, but the killer might have been an American.
England was full of g I's at.
Speaker 2 (39:36):
The time, and was she one of the series? They
don't know it was a series, but it didn't start
right after Brucie. A couple of months. Then it began
the same pattern, strangled.
Speaker 1 (39:47):
Well, what was the matter with him? Couldn't they catch him?
Speaker 2 (39:49):
Now?
Speaker 1 (39:49):
It was never caught.
Speaker 2 (39:51):
After six months, it stopped just as suddenly as it
had begun. Maybe it was shipped back home.
Speaker 1 (39:57):
If I could ever find him, if I could have
get my hands on him, the man who killed Brucie,
I guess we feel the same about that. Do you
want to come back with me? Dixon? See the reports?
I don't think I could take them, rub you understand?
Of course I didn't, Of course I did. I went
(40:19):
back to the apartment and lay on the dive nd
for the rest of the afternoon, thinking about Brucie, strangled
so many miles away, the Laurel, who lived just across
the patio from me and had disappeared as if the
earth had swallowed it. I thought of them both, and soon.
Speaker 2 (40:35):
Their figures swam together in my mind and were co
mingled so that they became one. It was already dark,
and I found myself very hungry. I got in the
coop and drove over to the wheelchair, not knowing where
I'd eat. Passed this boy Roman Norv's Tropics, and then suddenly.
Speaker 1 (40:55):
The brilliant lights of the driving glittered ahead of me.
I didn't stop to I twisted.
Speaker 2 (41:01):
The wheel and pulled into a pocket space right up front,
right under the lights.
Speaker 1 (41:06):
They were looking for a man of my height, a
man of my bill. I was here for them. I
count two young fellows were in the card in my left.
A middle aged come up to my right. No police,
no police inside. I was safe. The girl who came
(41:27):
with the menu was pretty, no more than sixteenth. Good evening.
Speaker 2 (41:31):
Oh you a menu?
Speaker 1 (41:33):
I know what I want. I'll have a special tonight.
It's kind of a celebration y. I wondered what the
girl's name was. I wondered if she was Jean, the
car hop whom the police had alerted, the girl who
would come up to each customer in the hope of
finding me. And here's the knife. She had found me,
and she didn't know it. I ate slowly lingering over
(41:57):
the food, and before I left, I had ended her
a large tip, just to be sure she remembered me.
She thanked me, smiling and said, and I promised I would.
I went out wheelchair to the ocean. The fog blew
in at fourteenth Street, and I should have turned like them,
but I didn't. I could hear the boom of the breakers,
(42:22):
and I could smell the sea in the fog, and
the fog itself was sweet and cool. It was silent.
The world was shrouded and missed some silence except for
the thump of the water far off cry of the
fog horn.
Speaker 2 (42:37):
And then at that moment I knew what I was
going to do. I got out of the car, and
I listened to my footsteps across the pavement toward the beach.
Speaker 1 (42:52):
And then I listened to the silence as I began
walking in the sand, sledging through heavy damn sand. If
I passed the clover I'd gone to dinner one night
with brub where I'd seen a young girl, a pretty,
brown haired curl looked like Brucie. I went on, trying
(43:13):
to forget. I drifted along the deserted beach, looking for
the shape of a living thing of a woman. But
I was alone. I passed a beach house where people
huddled together in warmth and gaiety, and found myself trembling
with hatred palaw If she had come back to me,
I'd not be shut out like this and cut off.
(43:34):
Always leave you before you're ready. And I groped hot.
My feet changed in the MUDs, and I stumbled and
fell to one knee. I stayed there, my head buried
in my arms. I was there for a long time,
whilst the world of swaring fog in a crashing wave,
lost in a lonely passed, and the red mass tightened
(43:55):
into my brain. Suddenly, something came round through.
Speaker 2 (44:00):
A small dark show purpled on me, and I realized
it was a dog, a friendly terrier. I struck a
children held a clip, and then there were foot steps
coming over the sand.
Speaker 1 (44:15):
I could see my blood begin the pound with excitement.
Where there was a dog, there was a master or mistress.
The sound of the steps came closer, and then she
stepped forward out of the fog. I looked up from
the door and said hello, and then I smiled. She
(44:36):
couldn't know. Behind that smile lay my.
Speaker 2 (44:38):
Hacred of Laurel, my hacred of rub my acred of Sylvia,
my hatred of Latna, of every one in the whole
living world, of everyone.
Speaker 1 (44:48):
But Brucie. And Brucie was dead, Laurel. But last night, Laurel. No,
(45:11):
it isn't Laurel. What brings you brub Am? I invited in? Yeah,
of course? So now, yeah, anything wrong, Penny wrong? This
is Chilviia. What makes you think it is? Well, I
don't know. You look so worried. You mean you mean
you don't know what's happened. I don't know from nothing.
(45:33):
I awoke to a beautiful morning, the birds singing, the
California sunshine, and I decided it was a day for
the beach. I've been out there all day riding the breakers.
Wonderful you were at the beach today? Sure, what's wrong
with that?
Speaker 2 (45:47):
He was out again last night, this trainer. He did
it on the beach, bro again. A little Banning girl,
Betsy Banning. You remember the girl who looked like Boosie. Yeah,
I remember. I get him and I will get him.
I'm gonna kill him and then I kill him with
my hands the way he likes to do it. Oh,
(46:09):
I take it easy, Rub, would you like a drink?
Speaker 1 (46:12):
She always took her dog out for a run at night,
no matter what time it was. She wasn't afraid. She
was like Sylvia.
Speaker 2 (46:19):
The ocean was always something safe, something good. And she
had her dog and the dog buried in the sand, dead,
strangled old fellow right on time, just about a month
on the nose every month. And no clues on the sands,
no no clues, no buttons, no fingerprints, no cigarette stubbs,
(46:40):
no metropolders, not even a calling card.
Speaker 1 (46:41):
Well, there's not.
Speaker 2 (46:43):
Much I'm good for at a time like this, but
if there's anything I can do, Rub, anything that was
in the neighborhood. I had to stop by him talking.
I'll be going now, Thanks Dix.
Speaker 1 (46:54):
Anytime, Rub, you know that anytime.
Speaker 2 (47:03):
The sand had been my first mistake, for sand was
an evil, penetrating thing and could never wholly be rid
of it. If dust could tell a story, then sand
screamed out its secrets aloud.
Speaker 1 (47:14):
That was why the morning afterward early I had gone
down to the beach and spent the whole day there
in the sand. That was why I had been ready
for bread when he came. That was why. I was
ready for the whole La police force if they wanted
to come. After brub left, I went out of the
house and drove to the cleaners on Peco and left
a bundle of dirty clothes, and I ate Bevely and
(47:34):
afterward went into Warner's Theater for a double bill. On
the way home, I thought I was being followed a
large gray sedan that stayed with me for three miles
before I was wrong. We were together in a red light,
and when it changed, the sedan shot ahead of me
and disappeared into the night. I slept without dreams, and
didn't wake until late afternoon the next day, and still
(47:58):
Laurel hadn't come back. Do you love me? I'd ask him,
and she'd said yes. She died in my face and
in my arms. I hated her, a cheat and a liar.
No one said, No one ever cared.
Speaker 7 (48:15):
Only was dead who had left me alone alone forever
for all of my life.
Speaker 1 (48:38):
Missus Steele. Yes, Captain Lackner would like to see you
up at the station if you don't mind. I don't
mind at all, but take your time. There's no hurry.
Well that's all right, I'm ready. Now you can follow
me in your own curve, right, it doesn't matter. You
might as well take yours. You know the way, don't you? Oh? Yes,
I know the way. So they wanted to look at
my car by a lock. That kept me occupied. I
(49:03):
laughed out aloud, driving over. Let them crawl, so I'd
let them look at the sand and the dust, let
them make casts of the tires. It didn't mean a
thing to me. It only made the game more exciting.
But maybe you could help us steal. I'd be glad
to captain you name it. It's a Bruce case. The
understand you know it? Yes, yes, Rob and I both
(49:24):
know it. Wonderful girl. I've been doing a good deal
of thinking about miss Bruise. Rob told me your idea.
It could have been the same man.
Speaker 7 (49:32):
I got a list here of American men who were
friendly with the Bruce girl, and we're all in England
when't happened.
Speaker 1 (49:38):
Just look at over. See what you can remember about
these men. Anything you might have said him. Oh, I
see Brub's name is Honor. Yeah, mind him that you'd
been transferred before then exciting. My transfer wasn't completed until
after I got back from Scotland. I had a month's
leave accumulated. You came home after them? No, no, no no.
(50:00):
I was sent to Paris and into Germany on the cleanup.
I was overseason another six months. You've what about the
men on that list. I can't tell you a thing
against any single one of them. They were all good men.
Not one could have had anything to do with this.
It's impossible, Okay, okay, but I has been telling me
the same thing. It's another did end.
Speaker 7 (50:18):
Well, that's enough for the day and I'm going home
to sleep for twenty hours.
Speaker 1 (50:23):
Thanks for coming over, the boy, DICKX. Why because I
stood up with the fellows. You did too. We had to.
I never knew about Scotland. I'd you like it up there.
It was wonderful because she was with me, Brucie. She
loved it there, and I loved her. The car was
(50:54):
where I left it. If the police had gone after dust,
they hadn't taken much. The floor mat was no cleaner
than it had been before. I went home and sat
in the living room watching it get dark, not bothering
to turn on any.
Speaker 3 (51:05):
Of the lights.
Speaker 1 (51:06):
There were no slips, no mistakes. There had never been
in me, there never would be any I go back east.
I get my trunk off tomorrow by express, and then
I go by plane by Brad Sad, Bye, Sylvia, thanks
for the money. Ride the first I'd find a room
not too far away and hold up for a few days.
Once I was gone, Laurel would come back to her apartment,
(51:28):
and I'd be waiting in the shadows. I'd take care
of Laurel.
Speaker 2 (51:34):
I sat there in the heavy darkness, my finger is aching,
my head banded by iron.
Speaker 1 (51:39):
They were footsteps outside. No Laurel, a man coming home
late from the office.
Speaker 2 (51:46):
But she might come tonight. I've been cleared, but the police.
No one need be afraid of me. Tonight she might come.
Speaker 1 (51:53):
I sat behind the dark window, hardly breathing. When I
heard them coming, clicking on the pavement. I pointed heels,
looked out, slacks, the careless code over the shoulders of
stuff to mask her flaming hair. Out the door, stepping
softly through the windows, coming up behind that. So you
(52:14):
decided to come back? Turn around? Look at me, Silvia, Yes, Sylph.
Where's Laura? Where's Laura? What have you done with it?
Speaker 4 (52:26):
Laura's all right, Dick, She's all wrong.
Speaker 1 (52:28):
Where is she? Where is she?
Speaker 4 (52:30):
She isn't coming back. She's safe and she's going to
stay safe.
Speaker 1 (52:33):
So you poisoned her against me because you hate me
from the beginning.
Speaker 4 (52:36):
You hate me, No, Dick, No, only I did feel
something was wrong with you. From the first night you
walked into our house. I knew something was terribly wrong.
Speaker 1 (52:44):
What could you know? What jealous name? You couldn't even
stand to see Brub have a friend like me. Wanted
me all for yourself, didn't you? And now Laura, you
take her away from me.
Speaker 4 (52:53):
You came to us because she was afraid, afraid of
you and what you might do.
Speaker 1 (52:56):
That's a lie, is it? Dick?
Speaker 4 (53:00):
Tell me what happened to the girl who had coffee
in the drive in me? What happened to the girl
in Wesley Park, the girl down on skid roll?
Speaker 1 (53:11):
Sylvia, I'm going to kill you. We were all in
(53:38):
my apartner Lochner and Brub and Sylvia and some of
the boys I had seen from the Beverly station. They
put on the lights and sat me down on the
die there, and they stood around looking down at me.
All of them were Sylvia, and.
Speaker 2 (53:55):
They stood between me and the chair in which she
sat huddled and the lockdown looking down to talk to me.
Speaker 7 (54:02):
I'm arresting you in suspicion of the murder of milerd Atkinson,
that's very funny, and suspicion of the murder of Betsy
Banni and the attempted murder of Sylvia Nikolai.
Speaker 6 (54:14):
Have you anything to say?
Speaker 1 (54:15):
Yes? I think you're crazy. Listen to me, Dix. It's
no use.
Speaker 2 (54:19):
We have Mildred Atkinson's fingerprints in your car. There's only
one way they could get there.
Speaker 1 (54:23):
Would you be lying? You an old friend just to
trap me? And we have the dust? Do you know
what a good lawyer could do with your precious dust?
I'm not through, Dix.
Speaker 2 (54:32):
There's quite a bit of lint from the Atkinson girls
coat lint, and there are hairs from Betsy Banning Scottie
dog withound them on the seat you took to the clingers.
Speaker 8 (54:45):
But you can't think of everything, prop especially when you're rushed,
when your luck runs out, Di Dix, look at me.
Speaker 1 (54:56):
Why did you do it? Why was it because your
love brew and she wouldn't have you? Is that what
sets you off? Is that what made you do it? Brap? Why? Dix?
Tell me why because because I killed Brucie.
Speaker 2 (55:32):
This is Robert Montgomery again, with thanks to our cast
for their splendid performances. Next week for suspense, we've chosen
the story with triple threat possibilities. The title, the story,
and the author, taken by themselves, are enough to command
our interest. In combination, they become a dramatic force powerful
in suspense. I speak of Nightmare by William Irish, a
(55:53):
story which fuses reality.
Speaker 1 (55:55):
With unreality and a frightening pattern of fear and suspicion.
Speaker 2 (55:59):
If you've ever had nightmare, you know its impact, you
know the difficulty with which you cast it. Aside, if
you've never had a nightmare, we cordially invite you to
have one on us next week, when with Nightmare by
William Irish, we again hope to.
Speaker 1 (56:12):
Keep you in suspense. Good night, mister Montgomery.
Speaker 9 (56:16):
May currently be seen in the Universal International production ride
The Pink Horse in a Lonely Place by Dorothy B.
Hughes was adapted for radio by Irving Ravitch, directed by
Anton M. Leader and produced by Robert Montgomery, lud Gluskin,
his armyusical.
Speaker 1 (56:31):
Director and conductor, and Lucian Morroweck composes the original scores.
Speaker 9 (56:36):
Next week, here Nightmare on radio's outstanding.
Speaker 1 (56:39):
Theater of Thrills, one hour of shush fends.
Speaker 2 (56:56):
Remember to give gladly to the nineteen forty eight Red
Cross spot.
Speaker 9 (57:00):
This is CBS where I dinign million people gather every week.
Speaker 1 (57:03):
Look, i'mb a broadcasting system
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