August 13, 2025 • 29 mins
Suspense was one of the most popular and successful old time radio series during it's run of over 900 episodes, spanning 1940-1962. Guest stars included Orson Welles, Frank Sinatra, Lucille Ball, Agnes Moorehead, Marlene Dietrich and Humphrey Bogart. The plots were mostly engaging crime dramas, science fiction and some horror - usually with a surprise ending.
Hope you enjoy this episode of Suspense! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | Amazon | iHeart
Hope you enjoy this episode of Suspense! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - All Podcasts @ Spreaker | Apple | YouTube | Spotify | Amazon | iHeart
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
Auto Light and it's ninety six thousand dealers bring you
mister Robert Young. In Tonight's presentation of Souls Spence Tonight
auto Light presents a story about a man who commits
a murder efficiently and safely, only to find there was
(00:27):
a witness. The story is called a Murder of Necessity,
starring mister Robert Young.
Speaker 2 (00:41):
Great performance, he.
Speaker 1 (00:42):
Hailo ah sure is have reminds me of the outstanding
performance of that team combination of precision made units including
the auto light generators, starting motor, coil distributor and all
the other important parts of the complete auto light electrical
system in your auto light equipped car.
Speaker 2 (00:58):
Yeah, I know, Herlo, but I'm talking about the show,
and what a show that auto light electrical system puts on.
Speaker 3 (01:04):
Half.
Speaker 1 (01:05):
It works every time you start and run your car,
blow your horn, light your lights, or use your electric windshield, wiper, cigarette, lighter, radio, heater,
and every unit is related by auto light engineering, design
and manufacturing skill to give you the smoothest performance money
can buy.
Speaker 2 (01:21):
Yes, well here's the next act, Turlow.
Speaker 1 (01:23):
The next act, friends, is to specify auto light original
factory parts when replacements are needed for your auto light
equipped car, because from bumper to tail light, you're always
right with auto light. And now with a murder of
necessity and the performance of mister Robert Young, autolite hopes
(01:44):
once again to keep you in sol spence.
Speaker 4 (01:53):
I'm walking along a city street, murder in my heart.
Tonight is the night I must kill. Remember the name
Herbie's Sacks, Fat, sweaty Herbie Sacks. He'll be sitting behind
his big desk, and he'll look up at me and smile,
and his fat neck will spill over the expensive collar
of the expensive shirt that he'll be wearing. So far,
(02:15):
so good, no one around, So far so good? What
do I keep saying? Some sign painter will have a
new job. Scrape the name and gold letters off the
glass door. Herbert J. Sachs, private Investigator, will soon be dead. Gentlemen,
(02:36):
through the panel of the glass door, the fat shadow
of the big man sitting happily in his swivel chair.
Mister Sax waits within. Murderer. Knock on his door, gets
up from the chair, Herbie, come and open the door.
Meet your doom. Start in the other office. Oh hello Mark,
(03:01):
or are you warm? A few moments of your time? Oh?
I'm busy. Let's make it inside, Herbie. Go ahead, Herbie,
sit down well?
Speaker 3 (03:14):
Or are you warm?
Speaker 4 (03:15):
Herbie? I'm through? You bled me for the last nickel.
Speaker 3 (03:19):
What are you talking about.
Speaker 4 (03:20):
I made a mistake a long time ago and went
hunting and I killed a man. It was an accident.
But instead of turning myself in and getting off on
a charge of manslaughter, I listened to the advice of
a man named Herbie Sachs.
Speaker 3 (03:32):
Go home.
Speaker 4 (03:33):
Nobody saw you shoot him, you said, nobody did except you, Herbie.
I'll be silent, said Herbie. I've had to pay for
your silence, haven't i? Herbie through the nose? Who do
you think you are?
Speaker 3 (03:46):
Coming here? Like this? Wife?
Speaker 1 (03:48):
Or two cents?
Speaker 4 (03:48):
Or two cents? You'd sell your mother, your grandmother, and
your wife, Gretchen, a nice girl who doesn't deserve you.
I'm warning you, Mark, You're through warning people, Herbie. I
wonder how many others will breed easier when once they
learn you're no longer exercising a big stick.
Speaker 2 (04:05):
What are you gonna do this.
Speaker 4 (04:14):
Now? The sign painter can strape the gold letters off
the glass door. Herbert J. Sach sits dead in his
swivel chair, the blood running a crazy pattern down the
front of his expensive shirt, his mouth silent, no words,
no accusations, no talk of any kind, no talk. Wait, wait,
(04:36):
Herbie was talking to somebody when I knocked on the door.
Nobody here. Who was he talking to? Must have been
talking to somebody on the telephone. He didn't hang it up. Hello, Hello,
(05:02):
who's there? Please don't? The phone in Herbie's desk drawer
had been off the hook. Herbie had been talking to
(05:23):
someone on the phone. Who would have been somebody I knew,
somebody I didn't know, somebody like Herbie, who'd make me
suffer some more? I had to find out? But how how?
I got an idea? The phone pad today, March twenty fourth,
and under the date three names L. Collins, the name
(05:46):
Janice and a phone number and an art Lafoon. Could
it have been one of them? On the phone? You heard? What?
Was it a radio? Was it a record? That's all
you have to go on. But it would have to
be enough even now, whoever it was, maybe calling the
police down in the corner drug store. I look up L.
Speaker 1 (06:13):
Collins.
Speaker 4 (06:13):
There's only one strange for a name like Collins, but
only one Lucius Collins who lives on north Woodburn Drive.
The taxi gets me there in twenty minutes. Yes, missus
(06:35):
Lucius Collins. Yes, is your husband at home?
Speaker 2 (06:40):
Yes? You want to see him?
Speaker 4 (06:41):
If it's possible, come in, just follow me.
Speaker 5 (06:50):
What did you say your name was?
Speaker 4 (06:51):
I didn't say, but it's Paul Paul Drake.
Speaker 1 (06:56):
Oh, Lucius, there is a mister Drake who wants to
see you.
Speaker 4 (07:01):
Yes, mister Collins, a mutual friend asked me to call.
I'd like to speak to you alone. If I may,
I'll close the door. Mister Collins. Oh uh, thank you?
Speaker 2 (07:15):
You said a mutual friend sent you?
Speaker 4 (07:18):
Who Herbie Sack sent me? Mister Collins?
Speaker 6 (07:21):
What does he want?
Speaker 4 (07:23):
He's not satisfied with the present setup.
Speaker 3 (07:25):
Mister Drake. I'm paying him all I can now. I
can't pay anymore. If I did, my wife might find out.
Speaker 2 (07:30):
And how would I explain it?
Speaker 3 (07:33):
Doesn't mister Sex.
Speaker 4 (07:34):
Understand that he's not satisfied. Mister Collins. That's all I
can tell you.
Speaker 2 (07:38):
But what am I going to do?
Speaker 4 (07:40):
Well? Herbie just gave me a general picture of your situation.
Perhaps if you filled me in on the details.
Speaker 6 (07:46):
There are no details, mister Drake. I made a mistake.
Once I met a girl. We grew fond of each other. Naturally,
my wife suspected something was wrong. She went to mister
Saxon had him trail me. He found out about us,
the girl and me, but he didn't tell my wife.
He said he wouldn't tell her if I paid him,
and so I did it.
Speaker 2 (08:05):
The girl went away, but I still paid.
Speaker 4 (08:08):
Mister Sex. I understand, mister Collins, you do you really do? Uh?
Have you been home all evening? Mister Collins, Well he
is now. I guess I'll just tell Herbie what you
told me. You can't increase it. You can't do it.
(08:28):
That radio over there looks like an old one.
Speaker 2 (08:31):
Huh, oh it is.
Speaker 3 (08:32):
We've had that for years. It's broken.
Speaker 4 (08:34):
Haven't bothered to.
Speaker 2 (08:35):
Have it fixed.
Speaker 4 (08:37):
You got a phonography that's.
Speaker 2 (08:39):
An old one, and the kinds of wine's not much good.
Speaker 4 (08:41):
It's up in the attic store to way. Well, thanks,
mister Collins. Thanks, I mean for seeing me or letting
me talk to you.
Speaker 2 (08:50):
Well, I don't understand it a man like you working
for Herbie sax.
Speaker 4 (08:56):
I know, mister Collins, I don't seem like the kind
that would that poor little man. If only I could
have told him, whispered to him, yelled to him, mister Collins,
your unhappiness is over. The man who held you in
the arms of terror is no more. He's dead. He's
up in his office, spilling blood all over his nice
(09:17):
clean carpet. You're a free man, free to pick up
the pieces of your life and start again. But tomorrow
you'll know. It'll be in all the papers. That'll be
soon enough. The first name on the list I check off,
Lucius Collins, is a man with problems of his own.
(09:40):
He didn't play his broken radio or the old phonograph
stored away up in his attic. So I call the
phone number next to the name on the pad that
reads Janice. Just figured up walked away with it a
Leon's bat text speaking. Is Janice there? Oh yeah, but
she's awful, busy waiting on tables. Can I give her
(10:02):
a message? No, I'll call later, Okay. I found Leon's
Bar downtown on Maine. It was a cheap place, but
it was full of people. Then I saw the girl
waiting on the tables. She was pretty, but a prettiness
(10:22):
that was cheap. Like the bar. I walked over to
an empty booth in the corner and sat down. I waited,
and then she saw me and came over and stood
beside me.
Speaker 5 (10:35):
Well, you have whiskin water, whisky and water, right, Janie?
Speaker 4 (10:40):
Come here mine?
Speaker 2 (10:42):
Yeah? What is it?
Speaker 4 (10:45):
I want to talk to you?
Speaker 5 (10:47):
Look, I'm awful busy right now?
Speaker 4 (10:48):
Herbie sent me.
Speaker 5 (10:51):
I didn't get your name.
Speaker 4 (10:54):
Drake, Paul Drake? Herbie sent, yes, Herbie sent for what?
What does Herbie usually want?
Speaker 5 (11:03):
What kind of a hold up?
Speaker 2 (11:04):
Is this?
Speaker 5 (11:05):
Twice in one week?
Speaker 4 (11:06):
Herbie's an ugly man, isn't he janous?
Speaker 5 (11:09):
You're a funny guy. I'd almost get the impression you
didn't like him.
Speaker 4 (11:13):
It is necessary for an employee to like his employer,
is it?
Speaker 5 (11:17):
No? What are you his collection agency?
Speaker 4 (11:22):
In a sense, I'm also an advisor of his?
Speaker 5 (11:25):
What do you mean?
Speaker 4 (11:26):
Sometimes I advise him about his clients. Perhaps I could
advise him about you.
Speaker 5 (11:32):
What would you advise him?
Speaker 4 (11:34):
I think you're a pretty girl, very pretty girl, Jennie.
I'd advise him of that.
Speaker 5 (11:39):
You shouldn't say things like that. Why not, because they're
not true?
Speaker 4 (11:44):
Yes they are.
Speaker 5 (11:45):
What do you want from me?
Speaker 2 (11:46):
Mister?
Speaker 4 (11:47):
I'd like to take you home? Tonight where you live.
That's all I want.
Speaker 5 (11:52):
That's a lot.
Speaker 4 (11:54):
I think you're pretty, Janice.
Speaker 2 (11:56):
I told you I get.
Speaker 5 (11:57):
Off in an hour. You can take me home.
Speaker 4 (12:02):
In an hour. She got up from the table and
walked across the room. There was something strange about this girl,
something I didn't understand, but something I had to find out.
She stopped at the jukebox in the corner of the bar,
next to the phone booth and dropped the diamondto the machine.
(12:23):
That's when I heard this song again.
Speaker 1 (12:45):
At all Light is bringing you, mister Robert Young in
a murder of necessity to Night's production in radio's outstanding
Theater of Thrills, seals Spence.
Speaker 2 (13:05):
Well, Hello, I'll admit it's the best system going.
Speaker 1 (13:08):
And it's always going when your car is half the
auto light electrical system that works every second eur engine
runs as well as when you blow your horn, light
your lights, or use your electric windshield wiper, cigarette lighter,
radio or heater.
Speaker 7 (13:21):
And the untolight electrical system is used by the finest
title Yes sir, half as original equipment on many leading
makes of our finest cars, trucks and tractors, and in
the auto light electrical system.
Speaker 1 (13:32):
Every unit and component part is related by auto light engineering, design,
and manufacturing skill to give you the smoothest performance money
can buy.
Speaker 2 (13:42):
That's where it pays to keep your car running right right.
Speaker 1 (13:45):
You are half so, friends, make it a point to
see your car dealer or authorized auto light service station soon.
You can easily locate your nearest authorized auto light service
station in the classified section of your telephone directory under
Automobile Electrical Service. Or you can call Western Union by
number and ask for operator twenty five. She will gladly
(14:06):
tell you his location. And remember, from bumper to tail light,
you're always right with auto light. And now auto Light
brings back to our Hollywood soundstage, mister Robert Young in
Elliott Lewis's production of A Murder of Necessity, A tale
well calculated to keep you in suspends.
Speaker 5 (14:48):
Well.
Speaker 4 (14:49):
Oh nice music?
Speaker 2 (14:53):
Like it?
Speaker 5 (14:53):
My favorite record? I play it all the.
Speaker 4 (14:55):
Time, you do?
Speaker 5 (15:00):
Shall we go?
Speaker 4 (15:01):
I'll call a cab you don't have to. Why not
ride home in style?
Speaker 5 (15:07):
It's only a couple of blocks from here.
Speaker 2 (15:09):
We can walk.
Speaker 5 (15:10):
Wouldn't you like to walk?
Speaker 4 (15:12):
All right? Beautiful night, not a cloud in the sky.
Speaker 5 (15:23):
I love fresh air.
Speaker 4 (15:25):
What's your last name?
Speaker 5 (15:27):
Jennis, I've got a lot of them. Call me Janice Gibson.
Speaker 4 (15:32):
All right, Janie Gibson. What kind of a girl are you, Jennis?
Speaker 5 (15:37):
If you work for Herbie Sachs, you know all about me,
not the details.
Speaker 4 (15:41):
Pretty girl.
Speaker 5 (15:42):
Why do you keep saying pretty girl?
Speaker 4 (15:43):
Because it's a statement of fact. You are pretty, Jennis.
Speaker 5 (15:48):
I'm the kind of a girl that you read about
in the confession magazines. Only they make those stories up
there fiction. My story is not fiction. It's a real one.
Long time ago girl with big ideas came out of
the sticks, landed in the big.
Speaker 4 (16:08):
City, and she met a man named Herbie Sachs.
Speaker 5 (16:11):
She met him after she'd gone off the deep end.
She wanted thrills. Those thrills ended her up in a
straight jacket and the sanitarium. They were the kind of
thrills you don't like the family back home about mm hmm.
Speaker 4 (16:28):
But uh, how does Herbie fake you.
Speaker 5 (16:30):
Herbie is a man with many ways and means. And
when the girl ended up in an addict Herbie was
the big brother. He had a soft shoulder and he
stretched out a helping hand.
Speaker 4 (16:43):
Mm.
Speaker 5 (16:44):
After I was cured, he told me I had to
pay him for his silence, the silence that would keep
the family back home from finding out about the thrilling
things that had happened to the girl.
Speaker 4 (16:55):
From the sticks? Are you yes?
Speaker 5 (17:00):
Well over them?
Speaker 4 (17:02):
That's good?
Speaker 5 (17:05):
Why do you work for a man like him?
Speaker 4 (17:08):
M check it off the living. Were you at the
bar all night tonight?
Speaker 5 (17:14):
Ever since eight o'clock?
Speaker 4 (17:15):
While nothing? I guess I'm making conversations because I don't
want to talk to you anymore.
Speaker 5 (17:22):
Look, mister, you can walk on the other side of
the street. I didn't know.
Speaker 4 (17:25):
I didn't mean it that way, Janice, Honest, Believe me.
What I meant was I didn't want to talk because
I suddenly feel like kissing him.
Speaker 5 (17:35):
This is where I live, the bug House. I want
to come up and meet the fleas courtesy of Herbie Sacks.
I got one room in a hot plate. What am
I supposed to do? Dance and dance because I can't
afford anything better.
Speaker 4 (17:48):
Look, I'll talk to herby I'm his adviser. Remember, maybe
I'll advise him to change his mind. If you thought
you could, I'll try that much, I promise. I'm advise
him that you ought to have a nice apartment to
live in and a stove.
Speaker 5 (18:09):
Paul, Yes, you want to come upstairs. I'll make you
some coffee.
Speaker 4 (18:16):
Have something to take care of. And it's late too.
Maybe after you won't come back.
Speaker 5 (18:22):
Once you leave, I won't see you anymore. You're that
kind of guy.
Speaker 4 (18:26):
I'll come back.
Speaker 5 (18:27):
I won't see you again. I know. I won't kiss me,
Paul hard like you're going away for a long time. Ah,
come upstairs, let me make you some coffee.
Speaker 4 (18:51):
I'll be back, Paul Cannis, someday. If you ever find
out that this is all over, go back home to
where there aren't thrilling things for a girl like you
to do. I don't know, they don't never know. Home
is a long and far away memory.
Speaker 5 (19:09):
I'm I don't know.
Speaker 4 (19:11):
Promise me I'm the kiss Maybe.
Speaker 5 (19:18):
Maybe, Paul. Maybe.
Speaker 4 (19:26):
I took her in my arms and kissed her again.
Then she turned and disappeared through the door into the
cheap boarding house, and the black knight closed in on
me again, and the fear and fright returned under the
street light. Up at the corner. I checked the last
name on the phone pad, Arc Lafoon. He's not at
his place of business on Houston Avenue. The watchman tells
(19:46):
me mister Laffoon is never at his place of business
at two thirty in the morning, he says, with raised eyebrows,
even though it is a novelty business and novel things
are always happening. So I wait until eight o'clock the
following morning his novelty business. I find a very shabby hotel,
and for two dollars, the night clerk tells me that
I can have a bed with a clean sheet and
(20:07):
a loud knock on my door when it's seven o'clock.
By five minutes after eight, I'm standing in front of
mister Lafun's novelty business on the third floor, my hand
closed tightly around a piece of blue steel that means
death for mister Laffoon.
Speaker 8 (20:28):
Yeah, all right, I've mentioned the ship and nugget out
to you on Freddy.
Speaker 3 (20:31):
Okay, okay, I promise you mentioned well. Lafo makes a promise,
he keeps his word. Okay, Can I see him?
Speaker 4 (20:38):
Hello, brother mister Lafoon, Brother Lafoon.
Speaker 3 (20:40):
Anything that's novel I know, see Lafoon. Yeah, let me
show you these small telescopes we just got in. I
made some a couple of years ago, but those what tame. Yeah,
take a look at this one.
Speaker 2 (20:49):
Look yeah, go ahead, just squinch your rye.
Speaker 4 (20:52):
You gotta focus. Herbie sent, Yeah, I was What was that, brother,
Herbie Sacks?
Speaker 3 (21:01):
You mentioned the name Herbie Sex. What am I supposed
to do? You know?
Speaker 4 (21:04):
Herbie?
Speaker 3 (21:05):
Why anyway?
Speaker 4 (21:06):
I worked for Herbie Sacks?
Speaker 3 (21:08):
It made another statement? Tell me how to react.
Speaker 4 (21:11):
Brother, hein't look mister novelty man. I don't know how
to convince you, but I'll get rough if I had to.
Speaker 3 (21:16):
Kay, Okay, take it easy, brother, take it easy. That's
an expensive shirt.
Speaker 4 (21:20):
That's why I'm here. Herby doesn't like you buying such
expensive shirts. Why I'm recently hired to make collections. I've
come to collect You know what I think you're lying?
You don't work for Herbie Sex. You don't work from
it all. I told you I was just recently hired.
Speaker 3 (21:38):
And why didn't he tell me you'd be around? Brother?
I talked to him on the phone last night. Why
didn't he tell me? Huh?
Speaker 4 (21:43):
You talked to Herbie on the phone last night?
Speaker 3 (21:46):
Yeah, brother, I talked to him.
Speaker 4 (21:49):
What happened when you talked to Herbie? What do you
mean what happened? Who are you brother, nobody you'd be
interested in.
Speaker 3 (21:57):
Yeah, well maybe the cops of the get your hands
off of me.
Speaker 4 (22:05):
Later, mister, Later, we'll take care of some unfinished business
when it's dark and no one will see me. I
got out of the building. I had to before someone
saw me, saw my face and would recognize it again.
(22:25):
But tonight, when it's dark, I'll wait for you and
follow you. Mister Lafoo, it was you on the phone,
now I know. Buy a paper and go home. Lay low.
When I get home, I opened the paper and there
it is, on page two, on account of the death
of Herbert J. Sachs, the private investigator shot through the
(22:45):
chest twice by an unknown assailant. How soon would it
be before mister Lafoon would tell the police the name
of the unknown assailant? Long enough? Because Laffoon was the
kind of man who'd wait for the killer to get
in touch with him. Lafoon was the kind of man
who could be bribed. And then when I tried to sweep.
Speaker 5 (23:16):
Oh Mark, missus Gretchen Sex, Herbie's.
Speaker 4 (23:20):
Wife, Yeah, hello, Gretchen.
Speaker 5 (23:25):
Did you read about Herbie in the papers this morning?
Speaker 4 (23:29):
Yeah? I read.
Speaker 5 (23:31):
I want to talk to you, Mark, talk it's important.
Can you come out to the house.
Speaker 4 (23:39):
Have the police been out to the house yet.
Speaker 5 (23:41):
No. I was down for a few minutes at the
morgue to identify the body.
Speaker 4 (23:48):
That's all.
Speaker 2 (23:49):
That's all.
Speaker 5 (23:51):
It's important that I talked to you. I was on
the other end of the.
Speaker 4 (23:56):
Phone, Mark, Why didn't you answer me? I picked up
the receiver.
Speaker 5 (24:01):
I had to take time to think things through.
Speaker 4 (24:05):
Have you thought them through?
Speaker 7 (24:07):
Yes?
Speaker 5 (24:09):
Will you come out to the house and talk to me?
Speaker 4 (24:11):
Yes, Gretchen, I'll be off in a little while.
Speaker 5 (24:17):
I'll wait for you.
Speaker 4 (24:23):
It was Herbie's own wife, Gretchen on the phone, Sweet
and lovable Gretchen, and now the wife of the man
I murdered. Waits to talk with me? What about the weather? No? No,
she waits to talk business before the police arrived. She
waits to take up where the fat man left off.
(24:44):
Another murder of necessity, ring the doorbell.
Speaker 5 (24:48):
Murder, Hello, Mark, come in come?
Speaker 7 (25:00):
Oh oh, Mark.
Speaker 2 (25:05):
You fool, you fool.
Speaker 4 (25:10):
I'm sorry, Gretchen.
Speaker 5 (25:12):
I hated him.
Speaker 3 (25:16):
I hated what are you saying?
Speaker 7 (25:21):
I couldn't stand.
Speaker 1 (25:22):
Him everything he was.
Speaker 2 (25:26):
I hated he.
Speaker 7 (25:30):
He wouldn't let me go.
Speaker 4 (25:31):
No, Hi, I don't believe you.
Speaker 7 (25:34):
Last night I.
Speaker 5 (25:37):
Called him on the telephone, called him to tell him
to come home because.
Speaker 2 (25:46):
When he got home, Mark I was going to kill him.
Speaker 7 (25:55):
M H.
Speaker 8 (25:59):
Gretchen operator, Operator, get me police headquarters.
Speaker 4 (26:23):
I just committed a murder that wasn't necessary at all.
Speaker 1 (26:51):
Suspence presented by auto Light Tonight Star Mister Robert Young.
This is It's Harlow Wilcox speaking for Autolite, world's largest
independent manufacturer of automotive electrical equipment. Our auto Light family
is made up of the nearly thirty thousand men and
women in twenty eight Great auto Light plants from coast
(27:14):
to coast, and in still other Autolite plants in many
foreign countries. It also includes more than eighteen thousand people
who have invested a portion of their savings in Autolite,
as well as ninety six thousand auto light distributors and
dealers in the United States and thousands more in Canada
and throughout the world. On April first, Autolite will present
(27:36):
the national television preview of the Great Parade of Star's
Automobile Show from the Grand ball Room of New York's
Waldorf Astoria Hotel. This program may be seen at the
regular Auto lighte Suspense television time on April first, or
a few days later in some television areas. Don't miss
this great program and remember to be with us next
(27:58):
week for another thrilling auto light suspense show on radio.
Next week, our star will be Miss Deborah Carr as
a girl who chose a most dangerous way of making
a living and bet her life on its success. A
(28:22):
story true except for changes in names and places, which
we call The Colonel's Lady, presented on Souspence. Suspense is
produced and directed by Elliott Lewis, with music composed by
(28:45):
Lucia Morrowick and conducted by lud Gluskin. A Murder of
Necessity was written for Suspense by Richard George Pattuccini. Featured
at tonight's cast were Paula Winslow, Charlotte Lawrence, Joe Gilbert,
Howard mcneer, Lou Merrill, and Joseph Kerns. Robert Young, star
(29:06):
of Father Knows Best, appeared through the courtesy of the
Crosley Corporation. And remember next week on Suspense, Miss Deborah
Carr in The Colonel's Lady. This is the CBS Radio
Network
Auto Light and it's ninety six thousand dealers bring you
mister Robert Young. In Tonight's presentation of Souls Spence Tonight
auto Light presents a story about a man who commits
a murder efficiently and safely, only to find there was
(00:27):
a witness. The story is called a Murder of Necessity,
starring mister Robert Young.
Speaker 2 (00:41):
Great performance, he.
Speaker 1 (00:42):
Hailo ah sure is have reminds me of the outstanding
performance of that team combination of precision made units including
the auto light generators, starting motor, coil distributor and all
the other important parts of the complete auto light electrical
system in your auto light equipped car.
Speaker 2 (00:58):
Yeah, I know, Herlo, but I'm talking about the show,
and what a show that auto light electrical system puts on.
Speaker 3 (01:04):
Half.
Speaker 1 (01:05):
It works every time you start and run your car,
blow your horn, light your lights, or use your electric windshield, wiper, cigarette, lighter, radio, heater,
and every unit is related by auto light engineering, design
and manufacturing skill to give you the smoothest performance money
can buy.
Speaker 2 (01:21):
Yes, well here's the next act, Turlow.
Speaker 1 (01:23):
The next act, friends, is to specify auto light original
factory parts when replacements are needed for your auto light
equipped car, because from bumper to tail light, you're always
right with auto light. And now with a murder of
necessity and the performance of mister Robert Young, autolite hopes
(01:44):
once again to keep you in sol spence.
Speaker 4 (01:53):
I'm walking along a city street, murder in my heart.
Tonight is the night I must kill. Remember the name
Herbie's Sacks, Fat, sweaty Herbie Sacks. He'll be sitting behind
his big desk, and he'll look up at me and smile,
and his fat neck will spill over the expensive collar
of the expensive shirt that he'll be wearing. So far,
(02:15):
so good, no one around, So far so good? What
do I keep saying? Some sign painter will have a
new job. Scrape the name and gold letters off the
glass door. Herbert J. Sachs, private Investigator, will soon be dead. Gentlemen,
(02:36):
through the panel of the glass door, the fat shadow
of the big man sitting happily in his swivel chair.
Mister Sax waits within. Murderer. Knock on his door, gets
up from the chair, Herbie, come and open the door.
Meet your doom. Start in the other office. Oh hello Mark,
(03:01):
or are you warm? A few moments of your time? Oh?
I'm busy. Let's make it inside, Herbie. Go ahead, Herbie,
sit down well?
Speaker 3 (03:14):
Or are you warm?
Speaker 4 (03:15):
Herbie? I'm through? You bled me for the last nickel.
Speaker 3 (03:19):
What are you talking about.
Speaker 4 (03:20):
I made a mistake a long time ago and went
hunting and I killed a man. It was an accident.
But instead of turning myself in and getting off on
a charge of manslaughter, I listened to the advice of
a man named Herbie Sachs.
Speaker 3 (03:32):
Go home.
Speaker 4 (03:33):
Nobody saw you shoot him, you said, nobody did except you, Herbie.
I'll be silent, said Herbie. I've had to pay for
your silence, haven't i? Herbie through the nose? Who do
you think you are?
Speaker 3 (03:46):
Coming here? Like this? Wife?
Speaker 1 (03:48):
Or two cents?
Speaker 4 (03:48):
Or two cents? You'd sell your mother, your grandmother, and
your wife, Gretchen, a nice girl who doesn't deserve you.
I'm warning you, Mark, You're through warning people, Herbie. I
wonder how many others will breed easier when once they
learn you're no longer exercising a big stick.
Speaker 2 (04:05):
What are you gonna do this.
Speaker 4 (04:14):
Now? The sign painter can strape the gold letters off
the glass door. Herbert J. Sach sits dead in his
swivel chair, the blood running a crazy pattern down the
front of his expensive shirt, his mouth silent, no words,
no accusations, no talk of any kind, no talk. Wait, wait,
(04:36):
Herbie was talking to somebody when I knocked on the door.
Nobody here. Who was he talking to? Must have been
talking to somebody on the telephone. He didn't hang it up. Hello, Hello,
(05:02):
who's there? Please don't? The phone in Herbie's desk drawer
had been off the hook. Herbie had been talking to
(05:23):
someone on the phone. Who would have been somebody I knew,
somebody I didn't know, somebody like Herbie, who'd make me
suffer some more? I had to find out? But how how?
I got an idea? The phone pad today, March twenty fourth,
and under the date three names L. Collins, the name
(05:46):
Janice and a phone number and an art Lafoon. Could
it have been one of them? On the phone? You heard? What?
Was it a radio? Was it a record? That's all
you have to go on. But it would have to
be enough even now, whoever it was, maybe calling the
police down in the corner drug store. I look up L.
Speaker 1 (06:13):
Collins.
Speaker 4 (06:13):
There's only one strange for a name like Collins, but
only one Lucius Collins who lives on north Woodburn Drive.
The taxi gets me there in twenty minutes. Yes, missus
(06:35):
Lucius Collins. Yes, is your husband at home?
Speaker 2 (06:40):
Yes? You want to see him?
Speaker 4 (06:41):
If it's possible, come in, just follow me.
Speaker 5 (06:50):
What did you say your name was?
Speaker 4 (06:51):
I didn't say, but it's Paul Paul Drake.
Speaker 1 (06:56):
Oh, Lucius, there is a mister Drake who wants to
see you.
Speaker 4 (07:01):
Yes, mister Collins, a mutual friend asked me to call.
I'd like to speak to you alone. If I may,
I'll close the door. Mister Collins. Oh uh, thank you?
Speaker 2 (07:15):
You said a mutual friend sent you?
Speaker 4 (07:18):
Who Herbie Sack sent me? Mister Collins?
Speaker 6 (07:21):
What does he want?
Speaker 4 (07:23):
He's not satisfied with the present setup.
Speaker 3 (07:25):
Mister Drake. I'm paying him all I can now. I
can't pay anymore. If I did, my wife might find out.
Speaker 2 (07:30):
And how would I explain it?
Speaker 3 (07:33):
Doesn't mister Sex.
Speaker 4 (07:34):
Understand that he's not satisfied. Mister Collins. That's all I
can tell you.
Speaker 2 (07:38):
But what am I going to do?
Speaker 4 (07:40):
Well? Herbie just gave me a general picture of your situation.
Perhaps if you filled me in on the details.
Speaker 6 (07:46):
There are no details, mister Drake. I made a mistake.
Once I met a girl. We grew fond of each other. Naturally,
my wife suspected something was wrong. She went to mister
Saxon had him trail me. He found out about us,
the girl and me, but he didn't tell my wife.
He said he wouldn't tell her if I paid him,
and so I did it.
Speaker 2 (08:05):
The girl went away, but I still paid.
Speaker 4 (08:08):
Mister Sex. I understand, mister Collins, you do you really do? Uh?
Have you been home all evening? Mister Collins, Well he
is now. I guess I'll just tell Herbie what you
told me. You can't increase it. You can't do it.
(08:28):
That radio over there looks like an old one.
Speaker 2 (08:31):
Huh, oh it is.
Speaker 3 (08:32):
We've had that for years. It's broken.
Speaker 4 (08:34):
Haven't bothered to.
Speaker 2 (08:35):
Have it fixed.
Speaker 4 (08:37):
You got a phonography that's.
Speaker 2 (08:39):
An old one, and the kinds of wine's not much good.
Speaker 4 (08:41):
It's up in the attic store to way. Well, thanks,
mister Collins. Thanks, I mean for seeing me or letting
me talk to you.
Speaker 2 (08:50):
Well, I don't understand it a man like you working
for Herbie sax.
Speaker 4 (08:56):
I know, mister Collins, I don't seem like the kind
that would that poor little man. If only I could
have told him, whispered to him, yelled to him, mister Collins,
your unhappiness is over. The man who held you in
the arms of terror is no more. He's dead. He's
up in his office, spilling blood all over his nice
(09:17):
clean carpet. You're a free man, free to pick up
the pieces of your life and start again. But tomorrow
you'll know. It'll be in all the papers. That'll be
soon enough. The first name on the list I check off,
Lucius Collins, is a man with problems of his own.
(09:40):
He didn't play his broken radio or the old phonograph
stored away up in his attic. So I call the
phone number next to the name on the pad that
reads Janice. Just figured up walked away with it a
Leon's bat text speaking. Is Janice there? Oh yeah, but
she's awful, busy waiting on tables. Can I give her
(10:02):
a message? No, I'll call later, Okay. I found Leon's
Bar downtown on Maine. It was a cheap place, but
it was full of people. Then I saw the girl
waiting on the tables. She was pretty, but a prettiness
(10:22):
that was cheap. Like the bar. I walked over to
an empty booth in the corner and sat down. I waited,
and then she saw me and came over and stood
beside me.
Speaker 5 (10:35):
Well, you have whiskin water, whisky and water, right, Janie?
Speaker 4 (10:40):
Come here mine?
Speaker 2 (10:42):
Yeah? What is it?
Speaker 4 (10:45):
I want to talk to you?
Speaker 5 (10:47):
Look, I'm awful busy right now?
Speaker 4 (10:48):
Herbie sent me.
Speaker 5 (10:51):
I didn't get your name.
Speaker 4 (10:54):
Drake, Paul Drake? Herbie sent, yes, Herbie sent for what?
What does Herbie usually want?
Speaker 5 (11:03):
What kind of a hold up?
Speaker 2 (11:04):
Is this?
Speaker 5 (11:05):
Twice in one week?
Speaker 4 (11:06):
Herbie's an ugly man, isn't he janous?
Speaker 5 (11:09):
You're a funny guy. I'd almost get the impression you
didn't like him.
Speaker 4 (11:13):
It is necessary for an employee to like his employer,
is it?
Speaker 5 (11:17):
No? What are you his collection agency?
Speaker 4 (11:22):
In a sense, I'm also an advisor of his?
Speaker 5 (11:25):
What do you mean?
Speaker 4 (11:26):
Sometimes I advise him about his clients. Perhaps I could
advise him about you.
Speaker 5 (11:32):
What would you advise him?
Speaker 4 (11:34):
I think you're a pretty girl, very pretty girl, Jennie.
I'd advise him of that.
Speaker 5 (11:39):
You shouldn't say things like that. Why not, because they're
not true?
Speaker 4 (11:44):
Yes they are.
Speaker 5 (11:45):
What do you want from me?
Speaker 2 (11:46):
Mister?
Speaker 4 (11:47):
I'd like to take you home? Tonight where you live.
That's all I want.
Speaker 5 (11:52):
That's a lot.
Speaker 4 (11:54):
I think you're pretty, Janice.
Speaker 2 (11:56):
I told you I get.
Speaker 5 (11:57):
Off in an hour. You can take me home.
Speaker 4 (12:02):
In an hour. She got up from the table and
walked across the room. There was something strange about this girl,
something I didn't understand, but something I had to find out.
She stopped at the jukebox in the corner of the bar,
next to the phone booth and dropped the diamondto the machine.
(12:23):
That's when I heard this song again.
Speaker 1 (12:45):
At all Light is bringing you, mister Robert Young in
a murder of necessity to Night's production in radio's outstanding
Theater of Thrills, seals Spence.
Speaker 2 (13:05):
Well, Hello, I'll admit it's the best system going.
Speaker 1 (13:08):
And it's always going when your car is half the
auto light electrical system that works every second eur engine
runs as well as when you blow your horn, light
your lights, or use your electric windshield wiper, cigarette lighter,
radio or heater.
Speaker 7 (13:21):
And the untolight electrical system is used by the finest
title Yes sir, half as original equipment on many leading
makes of our finest cars, trucks and tractors, and in
the auto light electrical system.
Speaker 1 (13:32):
Every unit and component part is related by auto light engineering, design,
and manufacturing skill to give you the smoothest performance money
can buy.
Speaker 2 (13:42):
That's where it pays to keep your car running right right.
Speaker 1 (13:45):
You are half so, friends, make it a point to
see your car dealer or authorized auto light service station soon.
You can easily locate your nearest authorized auto light service
station in the classified section of your telephone directory under
Automobile Electrical Service. Or you can call Western Union by
number and ask for operator twenty five. She will gladly
(14:06):
tell you his location. And remember, from bumper to tail light,
you're always right with auto light. And now auto Light
brings back to our Hollywood soundstage, mister Robert Young in
Elliott Lewis's production of A Murder of Necessity, A tale
well calculated to keep you in suspends.
Speaker 5 (14:48):
Well.
Speaker 4 (14:49):
Oh nice music?
Speaker 2 (14:53):
Like it?
Speaker 5 (14:53):
My favorite record? I play it all the.
Speaker 4 (14:55):
Time, you do?
Speaker 5 (15:00):
Shall we go?
Speaker 4 (15:01):
I'll call a cab you don't have to. Why not
ride home in style?
Speaker 5 (15:07):
It's only a couple of blocks from here.
Speaker 2 (15:09):
We can walk.
Speaker 5 (15:10):
Wouldn't you like to walk?
Speaker 4 (15:12):
All right? Beautiful night, not a cloud in the sky.
Speaker 5 (15:23):
I love fresh air.
Speaker 4 (15:25):
What's your last name?
Speaker 5 (15:27):
Jennis, I've got a lot of them. Call me Janice Gibson.
Speaker 4 (15:32):
All right, Janie Gibson. What kind of a girl are you, Jennis?
Speaker 5 (15:37):
If you work for Herbie Sachs, you know all about me,
not the details.
Speaker 4 (15:41):
Pretty girl.
Speaker 5 (15:42):
Why do you keep saying pretty girl?
Speaker 4 (15:43):
Because it's a statement of fact. You are pretty, Jennis.
Speaker 5 (15:48):
I'm the kind of a girl that you read about
in the confession magazines. Only they make those stories up
there fiction. My story is not fiction. It's a real one.
Long time ago girl with big ideas came out of
the sticks, landed in the big.
Speaker 4 (16:08):
City, and she met a man named Herbie Sachs.
Speaker 5 (16:11):
She met him after she'd gone off the deep end.
She wanted thrills. Those thrills ended her up in a
straight jacket and the sanitarium. They were the kind of
thrills you don't like the family back home about mm hmm.
Speaker 4 (16:28):
But uh, how does Herbie fake you.
Speaker 5 (16:30):
Herbie is a man with many ways and means. And
when the girl ended up in an addict Herbie was
the big brother. He had a soft shoulder and he
stretched out a helping hand.
Speaker 4 (16:43):
Mm.
Speaker 5 (16:44):
After I was cured, he told me I had to
pay him for his silence, the silence that would keep
the family back home from finding out about the thrilling
things that had happened to the girl.
Speaker 4 (16:55):
From the sticks? Are you yes?
Speaker 5 (17:00):
Well over them?
Speaker 4 (17:02):
That's good?
Speaker 5 (17:05):
Why do you work for a man like him?
Speaker 4 (17:08):
M check it off the living. Were you at the
bar all night tonight?
Speaker 5 (17:14):
Ever since eight o'clock?
Speaker 4 (17:15):
While nothing? I guess I'm making conversations because I don't
want to talk to you anymore.
Speaker 5 (17:22):
Look, mister, you can walk on the other side of
the street. I didn't know.
Speaker 4 (17:25):
I didn't mean it that way, Janice, Honest, Believe me.
What I meant was I didn't want to talk because
I suddenly feel like kissing him.
Speaker 5 (17:35):
This is where I live, the bug House. I want
to come up and meet the fleas courtesy of Herbie Sacks.
I got one room in a hot plate. What am
I supposed to do? Dance and dance because I can't
afford anything better.
Speaker 4 (17:48):
Look, I'll talk to herby I'm his adviser. Remember, maybe
I'll advise him to change his mind. If you thought
you could, I'll try that much, I promise. I'm advise
him that you ought to have a nice apartment to
live in and a stove.
Speaker 5 (18:09):
Paul, Yes, you want to come upstairs. I'll make you
some coffee.
Speaker 4 (18:16):
Have something to take care of. And it's late too.
Maybe after you won't come back.
Speaker 5 (18:22):
Once you leave, I won't see you anymore. You're that
kind of guy.
Speaker 4 (18:26):
I'll come back.
Speaker 5 (18:27):
I won't see you again. I know. I won't kiss me,
Paul hard like you're going away for a long time. Ah,
come upstairs, let me make you some coffee.
Speaker 4 (18:51):
I'll be back, Paul Cannis, someday. If you ever find
out that this is all over, go back home to
where there aren't thrilling things for a girl like you
to do. I don't know, they don't never know. Home
is a long and far away memory.
Speaker 5 (19:09):
I'm I don't know.
Speaker 4 (19:11):
Promise me I'm the kiss Maybe.
Speaker 5 (19:18):
Maybe, Paul. Maybe.
Speaker 4 (19:26):
I took her in my arms and kissed her again.
Then she turned and disappeared through the door into the
cheap boarding house, and the black knight closed in on
me again, and the fear and fright returned under the
street light. Up at the corner. I checked the last
name on the phone pad, Arc Lafoon. He's not at
his place of business on Houston Avenue. The watchman tells
(19:46):
me mister Laffoon is never at his place of business
at two thirty in the morning, he says, with raised eyebrows,
even though it is a novelty business and novel things
are always happening. So I wait until eight o'clock the
following morning his novelty business. I find a very shabby hotel,
and for two dollars, the night clerk tells me that
I can have a bed with a clean sheet and
(20:07):
a loud knock on my door when it's seven o'clock.
By five minutes after eight, I'm standing in front of
mister Lafun's novelty business on the third floor, my hand
closed tightly around a piece of blue steel that means
death for mister Laffoon.
Speaker 8 (20:28):
Yeah, all right, I've mentioned the ship and nugget out
to you on Freddy.
Speaker 3 (20:31):
Okay, okay, I promise you mentioned well. Lafo makes a promise,
he keeps his word. Okay, Can I see him?
Speaker 4 (20:38):
Hello, brother mister Lafoon, Brother Lafoon.
Speaker 3 (20:40):
Anything that's novel I know, see Lafoon. Yeah, let me
show you these small telescopes we just got in. I
made some a couple of years ago, but those what tame. Yeah,
take a look at this one.
Speaker 2 (20:49):
Look yeah, go ahead, just squinch your rye.
Speaker 4 (20:52):
You gotta focus. Herbie sent, Yeah, I was What was that, brother,
Herbie Sacks?
Speaker 3 (21:01):
You mentioned the name Herbie Sex. What am I supposed
to do? You know?
Speaker 4 (21:04):
Herbie?
Speaker 3 (21:05):
Why anyway?
Speaker 4 (21:06):
I worked for Herbie Sacks?
Speaker 3 (21:08):
It made another statement? Tell me how to react.
Speaker 4 (21:11):
Brother, hein't look mister novelty man. I don't know how
to convince you, but I'll get rough if I had to.
Speaker 3 (21:16):
Kay, Okay, take it easy, brother, take it easy. That's
an expensive shirt.
Speaker 4 (21:20):
That's why I'm here. Herby doesn't like you buying such
expensive shirts. Why I'm recently hired to make collections. I've
come to collect You know what I think you're lying?
You don't work for Herbie Sex. You don't work from
it all. I told you I was just recently hired.
Speaker 3 (21:38):
And why didn't he tell me you'd be around? Brother?
I talked to him on the phone last night. Why
didn't he tell me? Huh?
Speaker 4 (21:43):
You talked to Herbie on the phone last night?
Speaker 3 (21:46):
Yeah, brother, I talked to him.
Speaker 4 (21:49):
What happened when you talked to Herbie? What do you
mean what happened? Who are you brother, nobody you'd be
interested in.
Speaker 3 (21:57):
Yeah, well maybe the cops of the get your hands
off of me.
Speaker 4 (22:05):
Later, mister, Later, we'll take care of some unfinished business
when it's dark and no one will see me. I
got out of the building. I had to before someone
saw me, saw my face and would recognize it again.
(22:25):
But tonight, when it's dark, I'll wait for you and
follow you. Mister Lafoo, it was you on the phone,
now I know. Buy a paper and go home. Lay low.
When I get home, I opened the paper and there
it is, on page two, on account of the death
of Herbert J. Sachs, the private investigator shot through the
(22:45):
chest twice by an unknown assailant. How soon would it
be before mister Lafoon would tell the police the name
of the unknown assailant? Long enough? Because Laffoon was the
kind of man who'd wait for the killer to get
in touch with him. Lafoon was the kind of man
who could be bribed. And then when I tried to sweep.
Speaker 5 (23:16):
Oh Mark, missus Gretchen Sex, Herbie's.
Speaker 4 (23:20):
Wife, Yeah, hello, Gretchen.
Speaker 5 (23:25):
Did you read about Herbie in the papers this morning?
Speaker 4 (23:29):
Yeah? I read.
Speaker 5 (23:31):
I want to talk to you, Mark, talk it's important.
Can you come out to the house.
Speaker 4 (23:39):
Have the police been out to the house yet.
Speaker 5 (23:41):
No. I was down for a few minutes at the
morgue to identify the body.
Speaker 4 (23:48):
That's all.
Speaker 2 (23:49):
That's all.
Speaker 5 (23:51):
It's important that I talked to you. I was on
the other end of the.
Speaker 4 (23:56):
Phone, Mark, Why didn't you answer me? I picked up
the receiver.
Speaker 5 (24:01):
I had to take time to think things through.
Speaker 4 (24:05):
Have you thought them through?
Speaker 7 (24:07):
Yes?
Speaker 5 (24:09):
Will you come out to the house and talk to me?
Speaker 4 (24:11):
Yes, Gretchen, I'll be off in a little while.
Speaker 5 (24:17):
I'll wait for you.
Speaker 4 (24:23):
It was Herbie's own wife, Gretchen on the phone, Sweet
and lovable Gretchen, and now the wife of the man
I murdered. Waits to talk with me? What about the weather? No? No,
she waits to talk business before the police arrived. She
waits to take up where the fat man left off.
(24:44):
Another murder of necessity, ring the doorbell.
Speaker 5 (24:48):
Murder, Hello, Mark, come in come?
Speaker 7 (25:00):
Oh oh, Mark.
Speaker 2 (25:05):
You fool, you fool.
Speaker 4 (25:10):
I'm sorry, Gretchen.
Speaker 5 (25:12):
I hated him.
Speaker 3 (25:16):
I hated what are you saying?
Speaker 7 (25:21):
I couldn't stand.
Speaker 1 (25:22):
Him everything he was.
Speaker 2 (25:26):
I hated he.
Speaker 7 (25:30):
He wouldn't let me go.
Speaker 4 (25:31):
No, Hi, I don't believe you.
Speaker 7 (25:34):
Last night I.
Speaker 5 (25:37):
Called him on the telephone, called him to tell him
to come home because.
Speaker 2 (25:46):
When he got home, Mark I was going to kill him.
Speaker 7 (25:55):
M H.
Speaker 8 (25:59):
Gretchen operator, Operator, get me police headquarters.
Speaker 4 (26:23):
I just committed a murder that wasn't necessary at all.
Speaker 1 (26:51):
Suspence presented by auto Light Tonight Star Mister Robert Young.
This is It's Harlow Wilcox speaking for Autolite, world's largest
independent manufacturer of automotive electrical equipment. Our auto Light family
is made up of the nearly thirty thousand men and
women in twenty eight Great auto Light plants from coast
(27:14):
to coast, and in still other Autolite plants in many
foreign countries. It also includes more than eighteen thousand people
who have invested a portion of their savings in Autolite,
as well as ninety six thousand auto light distributors and
dealers in the United States and thousands more in Canada
and throughout the world. On April first, Autolite will present
(27:36):
the national television preview of the Great Parade of Star's
Automobile Show from the Grand ball Room of New York's
Waldorf Astoria Hotel. This program may be seen at the
regular Auto lighte Suspense television time on April first, or
a few days later in some television areas. Don't miss
this great program and remember to be with us next
(27:58):
week for another thrilling auto light suspense show on radio.
Next week, our star will be Miss Deborah Carr as
a girl who chose a most dangerous way of making
a living and bet her life on its success. A
(28:22):
story true except for changes in names and places, which
we call The Colonel's Lady, presented on Souspence. Suspense is
produced and directed by Elliott Lewis, with music composed by
(28:45):
Lucia Morrowick and conducted by lud Gluskin. A Murder of
Necessity was written for Suspense by Richard George Pattuccini. Featured
at tonight's cast were Paula Winslow, Charlotte Lawrence, Joe Gilbert,
Howard mcneer, Lou Merrill, and Joseph Kerns. Robert Young, star
(29:06):
of Father Knows Best, appeared through the courtesy of the
Crosley Corporation. And remember next week on Suspense, Miss Deborah
Carr in The Colonel's Lady. This is the CBS Radio
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If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.