September 2, 2025 • 28 mins
Suspense was one of the most popular and successful 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
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
Auto Life and it's ninety eight thousand dealers. Bring you
Miss Agnes Moorehead. In tonight's presentation of Suspense. Tonight Auto
Life presents the exciting new radio play by the originator
of Suspense, mister William Spear. The story is called Death
(00:27):
and Miss Turner, our Star, the first Lady of Suspense,
Miss Agnes Moorehead. Hey, horror, howdy chef? Arrest anyone lately? No,
but I want to check up on you because I
hear you've been boasting. You got a system that can't lose. Why, Sheriff.
(00:47):
Of course, my system can't lose. It's the best there is.
The auto light electrical system on my auto light equipped guard.
Why every unit and component part is related by auto
light engineering, design and manufacturing skill to give the smooth
performance money can buy. What system is in harlew The
electrical system Sheriff, including the auto light starting, motor distributor,
coil generator, battery, spark plugs, and all the other parts
(01:10):
of the complete auto light electrical system installed as original
equipment on many leading makes of our finest cars, trucks
and tractors.
Speaker 2 (01:18):
You mean you're always right with the auto light electrical system.
Speaker 1 (01:22):
You sure are, Sheriff. That's why it pays to insist
on auto light original factory parts for your auto light
equipped car. And remember, from bumper to tail light, you're
always right with auto light and now autolite pretense Transcribe
diff and Miss Turner starring Miss Agnes moorehead hoping once
again to keep you in suspense.
Speaker 3 (01:52):
We went out for a walk this morning. I was
dead and I went out for a walk. Miss Briggs
went with me. It was her idea. I wouldn't have
particularly thought of it.
Speaker 4 (02:00):
She brought a new picture in this morning. She took
my chair and stood on it, and took off one
shoe and hammered the nail on the wall and hung
the picture up. She asked me if it was hanging straight,
and I said I thought so, And she said well,
and she.
Speaker 3 (02:11):
Took off her glasson.
Speaker 4 (02:12):
And gave me a little inquiring expression. She always does
that after she's done something for me.
Speaker 3 (02:16):
She wants my approval. So I looked at the picture.
Speaker 4 (02:19):
Hanging there, and I smiled, and I said, it's lovely,
plain black frame. Yes, you're right, that's just the right
frame for it.
Speaker 3 (02:26):
I beg your pardon.
Speaker 5 (02:28):
The frame I said, it's good the frame. Yes, yes,
there as some other pictures downstairs we could.
Speaker 3 (02:36):
Have framed if you like. That would be a lot
of trouble, wouldn't it?
Speaker 5 (02:38):
Not a bit?
Speaker 4 (02:39):
I think I could. I could sleep some more. There's
a headache just hovering over me. I don't want to
wait until it gets me.
Speaker 6 (02:46):
Of course, you'll finish your naps, you know what might
be nice. So later on she gets the there, go
for a stroll.
Speaker 3 (02:53):
In the park, go out today.
Speaker 5 (02:55):
And lunch somewhere nice like ninety six Piccadilly or carriages?
Speaker 3 (03:00):
How about it?
Speaker 6 (03:01):
I ring up on misser other table.
Speaker 3 (03:02):
It's cool. Maybe I can borrow that red coat that
hanging up in there. Yes, that's fine. Rachel. I was dead,
long long dead, and I went out for a walk.
Speaker 4 (03:21):
My name is Rachel.
Speaker 3 (03:23):
Yes, there can't be any doubt about that now.
Speaker 5 (03:33):
And then the American meets the Englishman and says, well,
how are things, little boy, And the Englishman says that
is the next year.
Speaker 4 (03:42):
I know he's pulling a long face, like my dad
always says.
Speaker 5 (03:45):
If I could get a stake, I couldn't afford it anyway,
So I am getting tired.
Speaker 6 (03:51):
The cinemack of London for today.
Speaker 4 (03:53):
Oh no, no, I'm enjoying this so very much. As
long as we don't walk inside, we're not going.
Speaker 3 (03:58):
Oh no, love is how long has you've been in London?
Speaker 4 (04:03):
Radel?
Speaker 3 (04:04):
You know I can't tell you that, Miss Brigg.
Speaker 6 (04:07):
Yes, of course.
Speaker 4 (04:08):
You're just hoping that I just might let something.
Speaker 3 (04:12):
Sort of flip accidentally, aren't you, Miss Briggs?
Speaker 7 (04:15):
Yes, I guess.
Speaker 4 (04:16):
So it's been.
Speaker 3 (04:17):
Nice, wouldn't it. No, No, it wouldn't. Don't count on it,
miss Briggs. It's not going to happen. I can't risk it.
Look there's a phone shop.
Speaker 5 (04:27):
When I got our new picture down this morning?
Speaker 6 (04:29):
The loss train you like so much. He's friend with
some raw for us. Let's chet go in and see
how it's coming.
Speaker 3 (04:35):
Along new Law.
Speaker 6 (04:37):
Yes, hello, anybody in?
Speaker 3 (04:40):
Who's this?
Speaker 6 (04:42):
Oh? This Briggs, isn't it?
Speaker 3 (04:43):
How are we today?
Speaker 1 (04:44):
Ten?
Speaker 6 (04:45):
Thank you mister Putney. My friend here, and I thought
we'd just look in and see. Ho hard little job
of work it's going?
Speaker 8 (04:51):
I see, I see?
Speaker 3 (04:52):
Yes, yes, that was the four oils by? Who was it?
Speaker 1 (04:57):
Turner?
Speaker 8 (04:57):
That's it Turner, let's see.
Speaker 2 (05:01):
Ah, No, no, I'm afraid we haven't got them yet.
There they are hanging up there on the line.
Speaker 8 (05:07):
They're awfully good, aren't theymous Briggs?
Speaker 3 (05:09):
Who did you say, I've been here before?
Speaker 4 (05:12):
Beg your pardon?
Speaker 3 (05:13):
It was the same. Oh, I'm afraid not.
Speaker 7 (05:16):
You see I've only.
Speaker 8 (05:18):
Just opened my shop four days ago.
Speaker 1 (05:21):
Well I'm not.
Speaker 4 (05:21):
Talking about your shop necessarily, mister Partney.
Speaker 2 (05:24):
But see, Oh these paintings.
Speaker 3 (05:26):
I don't know miss Briggs.
Speaker 8 (05:28):
Brought them in by Turner Turnor.
Speaker 4 (05:30):
That's preposterous, jam Taylor. Why these have nothing to do
with him? In the first place, he was watercolor, and
the second place landscape.
Speaker 7 (05:37):
And in this not J. M.
Speaker 2 (05:39):
Turner, another Turner that signed are Turner? Oh interesting painter
this one, don't you think?
Speaker 9 (05:49):
Not exactly macabre?
Speaker 2 (05:51):
But there's something shippy about it. All four of them
seem to have a well, I guess you'd call it
an ominous overtone.
Speaker 3 (05:58):
Really, I don't feel that particularly.
Speaker 7 (06:02):
Wouldn't you call it a little knife?
Speaker 3 (06:04):
Mary?
Speaker 2 (06:04):
When a painter goes to this much trouble?
Speaker 3 (06:06):
All this detailed painting a man, his hands.
Speaker 2 (06:09):
His suit, the handkerchief in his pocket, the carnation in
his button hole, and then leaves out his face in
all for paintings.
Speaker 9 (06:17):
No face.
Speaker 4 (06:19):
I see a face, yes, of course, well not complete,
not the Fillian features. But the qualities of this man's
face are there for me, even though they're not there
for you.
Speaker 3 (06:34):
I should know this man. If I met him, we
must be going. He's dead. I think.
Speaker 4 (06:48):
We rude back in a taxi, Miss Briggs and I.
She had a bundle which mister Putney said she'd ordered.
There's something I wasn't listening to them. Every time I
opened my mouth to say something, I gave them an advantage.
Every time I went out for a walk with one
of them, like today, I showed things in my expression
that told them what they wanted to know. I'd fallen
into the trap when Miss Briggs had suggested that walk
(07:09):
this morning.
Speaker 3 (07:09):
I've been weak. I should never have gone. I want
to be dead and I won't be brought back from it.
Speaker 6 (07:21):
Had an airficial.
Speaker 3 (07:22):
Yes, what you got? Some stuff I ordered the other
day through the public. Oh what is it?
Speaker 7 (07:30):
You laugh?
Speaker 3 (07:31):
Long?
Speaker 5 (07:32):
No, Well, I know it's foolish, but as my dad
gets see heart never drew a royal flush and was say,
I don't know what that means.
Speaker 6 (07:39):
Quite a nice card player, anyway.
Speaker 5 (07:42):
It's something I've always wanted to have a private dabble at.
They say it relaxes a nurse, and who knows, I'm
younger than Grandma knows it pains.
Speaker 6 (07:53):
You bought a box of pains and brushes. This one,
if you please, cost two guineas. It's for the fine
detail work, he says, sable Huh, it's a sable brush.
And these things you licked your colors on them college.
Speaker 5 (08:11):
And then there's well whatever, this is, uh fixative And well, anyway,
I've gone and got a perfect smash of a real
professional kid.
Speaker 6 (08:21):
Now someone will teach me to draw a straight line.
Speaker 4 (08:24):
You didn't buy this box of paints for yourself, did you,
miss Brake?
Speaker 7 (08:29):
Well, whatever you brought them for me?
Speaker 3 (08:33):
That was it, wasn't it. I was a painter.
Speaker 4 (08:37):
That's what you're waiting for me to find out. Our turner,
the painter who does portraits of a man, was out
of faith.
Speaker 3 (08:48):
It's Rachel Turner.
Speaker 8 (08:50):
Is that it?
Speaker 3 (08:51):
I don't remember it?
Speaker 1 (08:52):
But is that it?
Speaker 3 (08:55):
Am I? Rachel Turner?
Speaker 5 (08:57):
I wait here, I'm going to get doctor greg.
Speaker 3 (09:08):
I looked at the door a moment after she'd gone.
Speaker 4 (09:11):
Then a square of white became the only thing in
the room. I'd picked up a canvas board. I drew
a chair forward and propped the canvas against it. I
was doing my best not to think, not to govern
my actions, simply to allow whatever might happen. My hand
was tearing away the selliphane wrappers from the charcoal. I
leaned over the square white propped there on the chair,
(09:32):
and like plunging a dagger into a white body, I
invaded the whiteness of the canvas with a bold and
perfectly symmetrical oval in black.
Speaker 3 (09:40):
Done with one stroke. Charcoal fell from my hands.
Speaker 4 (09:46):
Now the oil was splitting out of the palace save
a brush stabbing into the colors, blending and testing a
mixture of perfect flush stone.
Speaker 1 (09:53):
Why why.
Speaker 10 (09:57):
Who's a laying in my ears like the sound of
it's a train rushing through the mouth, Rachel.
Speaker 8 (10:11):
We meet it last, that is to say, we meet
as people meet in a drawing room or cockail party,
perhaps where.
Speaker 9 (10:18):
The hostess hasn't had the time to introduce us. All
around we.
Speaker 8 (10:21):
Find each other elb to elbowth punch bowl.
Speaker 9 (10:24):
At this moment, you smile to me. Is I hand
you your glass? And I say my name is.
Speaker 3 (10:28):
Chris I'm Rachel Turner.
Speaker 8 (10:32):
I'm a painter, the subject on which i'm dreadfully I'll informed.
I'm a psychologist myself.
Speaker 3 (10:38):
Totley of Her Majesty's College of Medicine.
Speaker 9 (10:43):
Not only a painter, but a positive encyclopedist. How could
you know that?
Speaker 8 (10:48):
Have we met before?
Speaker 4 (10:49):
We've not met it all this way, We don't meet
you and I, Sir Botley, until some months in this year,
in nineteen fifty two, when you're my doctor and I
am a patient lost to memory?
Speaker 9 (11:01):
How much do you know?
Speaker 8 (11:03):
Now, Miss Turner?
Speaker 3 (11:05):
You're going to be sorry. More than that, you'll be
the object all the murderous hatred my tortured soul is
capable of.
Speaker 4 (11:13):
If you persist in bringing.
Speaker 8 (11:15):
Me back, I should risk that many people hate me.
I saved many others from being hated. You were who
painted this?
Speaker 3 (11:23):
Just now?
Speaker 9 (11:23):
In those fifteen minutes while Miss Briggs and I were talking.
Speaker 8 (11:27):
Mark's amazing, It's wonderful.
Speaker 9 (11:30):
This is the man's face? Why him?
Speaker 8 (11:33):
I mean, for what reason?
Speaker 9 (11:34):
This particular countess the real from life?
Speaker 4 (11:41):
What's his name?
Speaker 3 (11:42):
Who is.
Speaker 4 (11:46):
I know?
Speaker 8 (11:48):
I s I moly?
Speaker 4 (11:49):
W was it?
Speaker 8 (11:50):
Why do you feel compelled to bring back this face?
Speaker 9 (11:53):
To show to yourself again.
Speaker 7 (11:54):
Now is the space of the man.
Speaker 5 (12:05):
I've bet.
Speaker 1 (12:20):
Auto Light is bringing you Miss Agnes moorehead in death
and Miss Turner Tonight's presentation in radio's outstanding Theater of
Prill's suspense.
Speaker 8 (12:40):
A horror.
Speaker 7 (12:41):
Does my car have an auto light electrical system?
Speaker 1 (12:44):
It's sure do, Sheriff for yours is one of the
many leading makes of our finest cars, trucks and tractors
equipped with an auto light electrical system, and Auto Light
is the world's largest independent manufacturer of automotive electrical equipment.
What kind of chores does this system? Ner, well, Sheriff.
It goes to work at the flick of the ignition
switch and performs every second your engine runs. It works
(13:05):
too every time you turn on your radio, sound your horn,
use your electric windshield, wiper or heater. That's why it
will pay you to treat the electrical system of your
car to a periodic checkup at your car dealer's or
authorized auto light service station. You can find the location
of your nearest authorized auto light service station in the
classified section of the telephone directory under Automobile Electrical service,
(13:28):
or call Western Union by number and ask for operator
twenty five, and remember from bumper to tail lights, you're
always right with auto lights. And now auto light brings
back to our Hollywood sound stage, Miss Agnes moorehead in
Elliott Lewis's production of Death and Miss Turner, a tail
well calculated to keep you in.
Speaker 9 (13:51):
Tim You who murder this man? Man whose face you
have painted here?
Speaker 8 (14:03):
Yes? How did you murder him?
Speaker 7 (14:07):
I don't know.
Speaker 8 (14:08):
You have no recall of having actually done it. You're
unable to tell yourself where it happened or off when?
Speaker 7 (14:14):
No, Oh, I only I'm sure that I killed him.
Speaker 9 (14:21):
A Miss Turner. We're going to give you something to
make you sleep now, if you've just rolled up.
Speaker 8 (14:25):
Your sleep, Miss Briggs, please please.
Speaker 9 (14:31):
Yes for a period of time now we shall need
to help you sleep.
Speaker 8 (14:35):
I hope will be a brief one. You wanted to
sleep a great deal of recent months, haven't you. That
was because you were afraid of reality of your thoughts
while awake. Oh, you're always dozing off, taking an app
staying in bed till half the day was gone.
Speaker 4 (14:48):
No, no, I know I'm a murderous so I've earned
the right to be drugged into forgetting it.
Speaker 3 (14:54):
So you are.
Speaker 4 (14:57):
I was already dead.
Speaker 7 (14:58):
I'd forgotten.
Speaker 8 (14:59):
Why couldn't I We're allowed to die?
Speaker 7 (15:01):
Why not the fust before?
Speaker 11 (15:02):
While it didn't matter?
Speaker 3 (15:03):
What for?
Speaker 4 (15:04):
What?
Speaker 8 (15:04):
For a murder you you can't describe, but a man
who's death in circumstances pointing to violence. We have no record.
Why no one on earth has come forward to acchoose
you of any crime?
Speaker 3 (15:15):
How did you find me?
Speaker 4 (15:17):
What was I doing? Where was I when you found me?
Speaker 8 (15:20):
You must remember what happened yourself, lived through that horror again?
Only then will you know what it's true. Meantime, I
shall help you in every way I can hate me
if you like specifating yourself. Good night, Les Turners.
Speaker 3 (15:43):
So many years to remember, a life brought back to
thee my own, the figures and landscapes and people which
belonged to me, and nothing had demand the day before.
It is all there up until my birthday.
Speaker 4 (15:57):
What happened on the sixteen todays? I remember the night before.
It was the last thing I remembered until awaiting here
in the hospital. On the first day of May. I
was standing in the lobby of the hotel, just having
got off that with the elevator, and my bag was packed.
It was there at my feet, and the porter came
(16:20):
around from behind his boot and handed me an envelope.
Speaker 3 (16:24):
After that.
Speaker 11 (16:26):
Nothing black white piano tune train teach m barrister, lawyer,
palette paint porter tickets, the train uh.
Speaker 3 (16:52):
Snow white, snow white. She had that long train at
the doors, carried.
Speaker 8 (16:59):
Blood red train of thought.
Speaker 9 (17:04):
Miss Turner.
Speaker 8 (17:05):
Have you noticed anything about your response to this word
which the word train? I've put it to you three times,
and each time you, for some reason, avoided connoting what
one should expect to be the most commonplace definition. You
haven't answered with smoke or wheels or waterloo station or underground.
Have you any idea why you should be unwilling to
(17:26):
recognize the word train as a high speed conveyance traveling
on wheels on rails.
Speaker 7 (17:31):
I don't have any idea.
Speaker 3 (17:35):
A book dealer.
Speaker 9 (17:38):
Yorkshire train wreck. Thank you, miss Turner. I think that
will do us for the day.
Speaker 3 (17:51):
This Briggs took me back to my room. I was
in a fever. I did Harley walk. Straet kept gabbing
at my forward with her handkerchief, but it didn't do
any good.
Speaker 4 (18:00):
I could see your lips moving, probably asking me if
I was all right, and could she help me?
Speaker 3 (18:03):
But I couldn't hear her. There was another horrifying, terrible
psalm filling my ears.
Speaker 4 (18:10):
I held my hands over and trying to shut it out,
that it only grew louder, and my room.
Speaker 3 (18:14):
Miss Briggs tried to push me toward the bed.
Speaker 12 (18:16):
I could see you the strain, and you must lie down,
and I flushed her out of the war and lunch
for the canvas board. My hands and arms were numbers,
though they were floating out of my control, except that
they hated agonizingly.
Speaker 13 (18:27):
There were flashes before my eyes, toning ways that threw
my head back, and as though I was little badded
in some apocalyptic storms, came a frightful streaking torn from
the throat of a damn sow and torment.
Speaker 12 (18:40):
And I throw forward on the ground and stood say
so with me.
Speaker 13 (18:44):
And I saw the pig tried fainted, and the voice
was streaking with my own.
Speaker 7 (18:54):
Oh I can't.
Speaker 9 (19:08):
Roll up that sleep now, Miss Turner.
Speaker 8 (19:24):
The mixture is a little bit different this time, but
it will stop hurting in just a moment. M already.
Oh yeah, oh yeah, this picture you've just done, is
(19:45):
it good? I think it's extraordinarily good? Are you sleeping?
Speaker 3 (19:49):
Sleeping? Got away sleep but not asleep?
Speaker 9 (19:56):
Can you describe this picture to me as though I
hadn't seen?
Speaker 4 (20:02):
And then are sitting in a railway compartment looking out
of the window of a train opposite him, with her
back to us, as it is a woman. It's it's
as though we were the woman whose attention.
Speaker 8 (20:17):
Is on this man, as though we were this woman. Yes,
don't you mean that you are this woman? In moncerna?
Speaker 3 (20:28):
Yes? Yes I am.
Speaker 8 (20:31):
What day is it now?
Speaker 3 (20:34):
My birthday?
Speaker 8 (20:35):
April sixteenth, bastard?
Speaker 4 (20:37):
Yes, yes, as that is sath today, I'm us. I'm
aboard the Flying Scotsman Express. I'm on my way to
Edinburgh to paint for moors. I'm the first class compartment alone.
I'm relaxed and happy. I feel the urge to paint
(20:58):
something here as the train goes feeding along.
Speaker 3 (21:02):
And what do you friend?
Speaker 7 (21:04):
A man.
Speaker 4 (21:07):
That is the embodiment of a man, his posture, his clothes,
But for some reason I can't think his face.
Speaker 3 (21:16):
I know his face, but I.
Speaker 4 (21:17):
Find it impossible to transfer to the tendas. And there's
four separate versions of him. But each time my brush
remains poised in me their refusing to invade the oval
of white where the face should be. At Manchester, I
(21:41):
get out to stretch my legs, walking up and down
the station platform, and when I resume my compartment I
find that I have a fellow traveler sharing it with me.
Speaker 7 (21:54):
He's turned away as I enter.
Speaker 4 (21:56):
He's occupied with closing the window, as if he's begun
to raise outside. As I seek myself opposite him, he
turns to face me directly.
Speaker 3 (22:07):
He's a man.
Speaker 7 (22:09):
It's his face which is missing from.
Speaker 3 (22:11):
The porches, the lion, the chair beside me.
Speaker 1 (22:18):
How do you do?
Speaker 5 (22:19):
How do you do?
Speaker 7 (22:23):
How do you do?
Speaker 1 (22:26):
Pardon?
Speaker 9 (22:27):
Do you feel not?
Speaker 7 (22:28):
Well? Forgive me for staring at you? I didn't, I
mean looking at you in this way?
Speaker 4 (22:35):
He did?
Speaker 7 (22:36):
All right, I'm a painter, you see.
Speaker 9 (22:40):
I see?
Speaker 8 (22:42):
Yes, good, and I'll feel well.
Speaker 7 (22:46):
This is the impossible part. Yes, you see these pictures?
Speaker 8 (22:51):
M hm oh, yes, very interesting.
Speaker 4 (22:57):
I mean.
Speaker 9 (23:00):
Don't know who it is?
Speaker 1 (23:01):
His face?
Speaker 4 (23:02):
Oh, but I do know.
Speaker 7 (23:04):
I didn't feel I could do the face before, but
now I can.
Speaker 3 (23:08):
Oh sure, right, because it's your face, my face.
Speaker 8 (23:18):
Work for my face?
Speaker 7 (23:20):
Yes, yes, I know it's clear, but.
Speaker 8 (23:23):
I mean you are going to put my face in there.
Speaker 1 (23:26):
Yes, well all right if all right ahead?
Speaker 7 (23:35):
You mean now sure? H?
Speaker 8 (23:40):
What do I do?
Speaker 3 (23:41):
I mean?
Speaker 9 (23:43):
I am all right to sit here like this?
Speaker 7 (23:45):
Yes, yes, just that when please, if you choke your
head just a little more, this is all right.
Speaker 3 (23:53):
Yes, you're in the shadow.
Speaker 4 (23:56):
Though. If there was only a little more life, good
back have it?
Speaker 7 (24:00):
Would it? Would it be too much trouble?
Speaker 4 (24:02):
If we change places, they're good light here where I'm sitting.
If we change places out it over there.
Speaker 3 (24:08):
And you, oh change please?
Speaker 8 (24:11):
Sure?
Speaker 3 (24:16):
I sit down where he.
Speaker 4 (24:17):
Has been, and he places himself exactly where I've been
sitting a moment before.
Speaker 7 (24:22):
For a moment he looked at me, smiling, and then
it's happening.
Speaker 4 (24:29):
There's a grinding flashing, it says.
Speaker 7 (24:33):
Still smiling, spy.
Speaker 4 (24:35):
And then an in spangle of sprinkling wooden glass and
wending steel takes freely at you, and the start if
you stopping, I kill him?
Speaker 3 (24:49):
It was I.
Speaker 4 (24:53):
I did.
Speaker 9 (24:57):
It so f No, you didn't kill him.
Speaker 8 (25:16):
You know that now you remember you've come back from
the air, Drew Breesis.
Speaker 4 (25:31):
I'm going home sailing at midnight. It'll be midwinter with
snow on that Connecticut bridge. Those leafless elves and they're
rolling purple shadows. They gave me a farewell tea this afternoon,
and I even had a cocktail. The hostess was much
too busy to introduce us all around, but a very
(25:52):
nice gentleman came up to me and introduced himself.
Speaker 8 (25:55):
My name is Gryce. I'm a psychologist.
Speaker 7 (25:59):
I am Rachel.
Speaker 3 (26:02):
I'm a painter.
Speaker 1 (26:25):
Suspense presented by Autolite to night Star Miss Agnes Warhead.
This is Harlow Wilcox speaking for Autolite, world's largest independent
manufacturer of automotive electrical equipment. Autolite is proud to serve
the greatest names in the industry. They are members of
the Autolite Family, as well as are the ninety eight
(26:46):
thousand Autolite distributors and dealers in the United States and
thousands more in Canada and throughout the world. Our family
also includes the nearly thirty thousand men and women in
twenty eight great Autolite plants from coast to coast, and
Autolite plants in many foreign countries, as well as the
eighteen thousand people who have invested a portion of their
savings in Autolite. Every Autolite product is backed by constant
(27:10):
research and precision, built to the highest standards of quality
and performance. Still remember, from bumper to tail light, You're
always right with Autolite. Next Week a story based on
fact and taken from your morning newspaper, the exciting report
(27:33):
of one man's efforts to prevent a national tragedy. The
story is called Man Alive. Our star will be mister
Paul Douglas. That's next Week on Suspend. Suspense is transcribed
and directed by Elliot Lewis, with music composed by Lucian
(27:55):
Morrowick and conducted by Loud Gluskin. Death and Miss Turner
has written for suspense by William Spears. In Tonight's story,
Jeanette Nolan has heard as Miss Briggs, Joseph Kearns as
Doctor Bryce, Paul Freese is the man on the train,
and Charles Davis as the shopkeeper. Agnes Moorehead may currently
be seen touring in Don Juan in Hell by George
(28:17):
Bernard Shaw.
Speaker 13 (28:24):
You can buy auto light electrical parts, auto light SAFFO
batteries and autolight resistor offstand the type of partlers at
your neighborhood auto light dealers.
Speaker 3 (28:32):
Switch to auto light good night.
Speaker 9 (28:48):
This is the CBS Radio network.
Auto Life and it's ninety eight thousand dealers. Bring you
Miss Agnes Moorehead. In tonight's presentation of Suspense. Tonight Auto
Life presents the exciting new radio play by the originator
of Suspense, mister William Spear. The story is called Death
(00:27):
and Miss Turner, our Star, the first Lady of Suspense,
Miss Agnes Moorehead. Hey, horror, howdy chef? Arrest anyone lately? No,
but I want to check up on you because I
hear you've been boasting. You got a system that can't lose. Why, Sheriff.
(00:47):
Of course, my system can't lose. It's the best there is.
The auto light electrical system on my auto light equipped guard.
Why every unit and component part is related by auto
light engineering, design and manufacturing skill to give the smooth
performance money can buy. What system is in harlew The
electrical system Sheriff, including the auto light starting, motor distributor,
coil generator, battery, spark plugs, and all the other parts
(01:10):
of the complete auto light electrical system installed as original
equipment on many leading makes of our finest cars, trucks
and tractors.
Speaker 2 (01:18):
You mean you're always right with the auto light electrical system.
Speaker 1 (01:22):
You sure are, Sheriff. That's why it pays to insist
on auto light original factory parts for your auto light
equipped car. And remember, from bumper to tail light, you're
always right with auto light and now autolite pretense Transcribe
diff and Miss Turner starring Miss Agnes moorehead hoping once
again to keep you in suspense.
Speaker 3 (01:52):
We went out for a walk this morning. I was
dead and I went out for a walk. Miss Briggs
went with me. It was her idea. I wouldn't have
particularly thought of it.
Speaker 4 (02:00):
She brought a new picture in this morning. She took
my chair and stood on it, and took off one
shoe and hammered the nail on the wall and hung
the picture up. She asked me if it was hanging straight,
and I said I thought so, And she said well,
and she.
Speaker 3 (02:11):
Took off her glasson.
Speaker 4 (02:12):
And gave me a little inquiring expression. She always does
that after she's done something for me.
Speaker 3 (02:16):
She wants my approval. So I looked at the picture.
Speaker 4 (02:19):
Hanging there, and I smiled, and I said, it's lovely,
plain black frame. Yes, you're right, that's just the right
frame for it.
Speaker 3 (02:26):
I beg your pardon.
Speaker 5 (02:28):
The frame I said, it's good the frame. Yes, yes,
there as some other pictures downstairs we could.
Speaker 3 (02:36):
Have framed if you like. That would be a lot
of trouble, wouldn't it?
Speaker 5 (02:38):
Not a bit?
Speaker 4 (02:39):
I think I could. I could sleep some more. There's
a headache just hovering over me. I don't want to
wait until it gets me.
Speaker 6 (02:46):
Of course, you'll finish your naps, you know what might
be nice. So later on she gets the there, go
for a stroll.
Speaker 3 (02:53):
In the park, go out today.
Speaker 5 (02:55):
And lunch somewhere nice like ninety six Piccadilly or carriages?
Speaker 3 (03:00):
How about it?
Speaker 6 (03:01):
I ring up on misser other table.
Speaker 3 (03:02):
It's cool. Maybe I can borrow that red coat that
hanging up in there. Yes, that's fine. Rachel. I was dead,
long long dead, and I went out for a walk.
Speaker 4 (03:21):
My name is Rachel.
Speaker 3 (03:23):
Yes, there can't be any doubt about that now.
Speaker 5 (03:33):
And then the American meets the Englishman and says, well,
how are things, little boy, And the Englishman says that
is the next year.
Speaker 4 (03:42):
I know he's pulling a long face, like my dad
always says.
Speaker 5 (03:45):
If I could get a stake, I couldn't afford it anyway,
So I am getting tired.
Speaker 6 (03:51):
The cinemack of London for today.
Speaker 4 (03:53):
Oh no, no, I'm enjoying this so very much. As
long as we don't walk inside, we're not going.
Speaker 3 (03:58):
Oh no, love is how long has you've been in London?
Speaker 4 (04:03):
Radel?
Speaker 3 (04:04):
You know I can't tell you that, Miss Brigg.
Speaker 6 (04:07):
Yes, of course.
Speaker 4 (04:08):
You're just hoping that I just might let something.
Speaker 3 (04:12):
Sort of flip accidentally, aren't you, Miss Briggs?
Speaker 7 (04:15):
Yes, I guess.
Speaker 4 (04:16):
So it's been.
Speaker 3 (04:17):
Nice, wouldn't it. No, No, it wouldn't. Don't count on it,
miss Briggs. It's not going to happen. I can't risk it.
Look there's a phone shop.
Speaker 5 (04:27):
When I got our new picture down this morning?
Speaker 6 (04:29):
The loss train you like so much. He's friend with
some raw for us. Let's chet go in and see
how it's coming.
Speaker 3 (04:35):
Along new Law.
Speaker 6 (04:37):
Yes, hello, anybody in?
Speaker 3 (04:40):
Who's this?
Speaker 6 (04:42):
Oh? This Briggs, isn't it?
Speaker 3 (04:43):
How are we today?
Speaker 1 (04:44):
Ten?
Speaker 6 (04:45):
Thank you mister Putney. My friend here, and I thought
we'd just look in and see. Ho hard little job
of work it's going?
Speaker 8 (04:51):
I see, I see?
Speaker 3 (04:52):
Yes, yes, that was the four oils by? Who was it?
Speaker 1 (04:57):
Turner?
Speaker 8 (04:57):
That's it Turner, let's see.
Speaker 2 (05:01):
Ah, No, no, I'm afraid we haven't got them yet.
There they are hanging up there on the line.
Speaker 8 (05:07):
They're awfully good, aren't theymous Briggs?
Speaker 3 (05:09):
Who did you say, I've been here before?
Speaker 4 (05:12):
Beg your pardon?
Speaker 3 (05:13):
It was the same. Oh, I'm afraid not.
Speaker 7 (05:16):
You see I've only.
Speaker 8 (05:18):
Just opened my shop four days ago.
Speaker 1 (05:21):
Well I'm not.
Speaker 4 (05:21):
Talking about your shop necessarily, mister Partney.
Speaker 2 (05:24):
But see, Oh these paintings.
Speaker 3 (05:26):
I don't know miss Briggs.
Speaker 8 (05:28):
Brought them in by Turner Turnor.
Speaker 4 (05:30):
That's preposterous, jam Taylor. Why these have nothing to do
with him? In the first place, he was watercolor, and
the second place landscape.
Speaker 7 (05:37):
And in this not J. M.
Speaker 2 (05:39):
Turner, another Turner that signed are Turner? Oh interesting painter
this one, don't you think?
Speaker 9 (05:49):
Not exactly macabre?
Speaker 2 (05:51):
But there's something shippy about it. All four of them
seem to have a well, I guess you'd call it
an ominous overtone.
Speaker 3 (05:58):
Really, I don't feel that particularly.
Speaker 7 (06:02):
Wouldn't you call it a little knife?
Speaker 3 (06:04):
Mary?
Speaker 2 (06:04):
When a painter goes to this much trouble?
Speaker 3 (06:06):
All this detailed painting a man, his hands.
Speaker 2 (06:09):
His suit, the handkerchief in his pocket, the carnation in
his button hole, and then leaves out his face in
all for paintings.
Speaker 9 (06:17):
No face.
Speaker 4 (06:19):
I see a face, yes, of course, well not complete,
not the Fillian features. But the qualities of this man's
face are there for me, even though they're not there
for you.
Speaker 3 (06:34):
I should know this man. If I met him, we
must be going. He's dead. I think.
Speaker 4 (06:48):
We rude back in a taxi, Miss Briggs and I.
She had a bundle which mister Putney said she'd ordered.
There's something I wasn't listening to them. Every time I
opened my mouth to say something, I gave them an advantage.
Every time I went out for a walk with one
of them, like today, I showed things in my expression
that told them what they wanted to know. I'd fallen
into the trap when Miss Briggs had suggested that walk
(07:09):
this morning.
Speaker 3 (07:09):
I've been weak. I should never have gone. I want
to be dead and I won't be brought back from it.
Speaker 6 (07:21):
Had an airficial.
Speaker 3 (07:22):
Yes, what you got? Some stuff I ordered the other
day through the public. Oh what is it?
Speaker 7 (07:30):
You laugh?
Speaker 3 (07:31):
Long?
Speaker 5 (07:32):
No, Well, I know it's foolish, but as my dad
gets see heart never drew a royal flush and was say,
I don't know what that means.
Speaker 6 (07:39):
Quite a nice card player, anyway.
Speaker 5 (07:42):
It's something I've always wanted to have a private dabble at.
They say it relaxes a nurse, and who knows, I'm
younger than Grandma knows it pains.
Speaker 6 (07:53):
You bought a box of pains and brushes. This one,
if you please, cost two guineas. It's for the fine
detail work, he says, sable Huh, it's a sable brush.
And these things you licked your colors on them college.
Speaker 5 (08:11):
And then there's well whatever, this is, uh fixative And well, anyway,
I've gone and got a perfect smash of a real
professional kid.
Speaker 6 (08:21):
Now someone will teach me to draw a straight line.
Speaker 4 (08:24):
You didn't buy this box of paints for yourself, did you,
miss Brake?
Speaker 7 (08:29):
Well, whatever you brought them for me?
Speaker 3 (08:33):
That was it, wasn't it. I was a painter.
Speaker 4 (08:37):
That's what you're waiting for me to find out. Our turner,
the painter who does portraits of a man, was out
of faith.
Speaker 3 (08:48):
It's Rachel Turner.
Speaker 8 (08:50):
Is that it?
Speaker 3 (08:51):
I don't remember it?
Speaker 1 (08:52):
But is that it?
Speaker 3 (08:55):
Am I? Rachel Turner?
Speaker 5 (08:57):
I wait here, I'm going to get doctor greg.
Speaker 3 (09:08):
I looked at the door a moment after she'd gone.
Speaker 4 (09:11):
Then a square of white became the only thing in
the room. I'd picked up a canvas board. I drew
a chair forward and propped the canvas against it. I
was doing my best not to think, not to govern
my actions, simply to allow whatever might happen. My hand
was tearing away the selliphane wrappers from the charcoal. I
leaned over the square white propped there on the chair,
(09:32):
and like plunging a dagger into a white body, I
invaded the whiteness of the canvas with a bold and
perfectly symmetrical oval in black.
Speaker 3 (09:40):
Done with one stroke. Charcoal fell from my hands.
Speaker 4 (09:46):
Now the oil was splitting out of the palace save
a brush stabbing into the colors, blending and testing a
mixture of perfect flush stone.
Speaker 1 (09:53):
Why why.
Speaker 10 (09:57):
Who's a laying in my ears like the sound of
it's a train rushing through the mouth, Rachel.
Speaker 8 (10:11):
We meet it last, that is to say, we meet
as people meet in a drawing room or cockail party,
perhaps where.
Speaker 9 (10:18):
The hostess hasn't had the time to introduce us. All
around we.
Speaker 8 (10:21):
Find each other elb to elbowth punch bowl.
Speaker 9 (10:24):
At this moment, you smile to me. Is I hand
you your glass? And I say my name is.
Speaker 3 (10:28):
Chris I'm Rachel Turner.
Speaker 8 (10:32):
I'm a painter, the subject on which i'm dreadfully I'll informed.
I'm a psychologist myself.
Speaker 3 (10:38):
Totley of Her Majesty's College of Medicine.
Speaker 9 (10:43):
Not only a painter, but a positive encyclopedist. How could
you know that?
Speaker 8 (10:48):
Have we met before?
Speaker 4 (10:49):
We've not met it all this way, We don't meet
you and I, Sir Botley, until some months in this year,
in nineteen fifty two, when you're my doctor and I
am a patient lost to memory?
Speaker 9 (11:01):
How much do you know?
Speaker 8 (11:03):
Now, Miss Turner?
Speaker 3 (11:05):
You're going to be sorry. More than that, you'll be
the object all the murderous hatred my tortured soul is
capable of.
Speaker 4 (11:13):
If you persist in bringing.
Speaker 8 (11:15):
Me back, I should risk that many people hate me.
I saved many others from being hated. You were who
painted this?
Speaker 3 (11:23):
Just now?
Speaker 9 (11:23):
In those fifteen minutes while Miss Briggs and I were talking.
Speaker 8 (11:27):
Mark's amazing, It's wonderful.
Speaker 9 (11:30):
This is the man's face? Why him?
Speaker 8 (11:33):
I mean, for what reason?
Speaker 9 (11:34):
This particular countess the real from life?
Speaker 4 (11:41):
What's his name?
Speaker 3 (11:42):
Who is.
Speaker 4 (11:46):
I know?
Speaker 8 (11:48):
I s I moly?
Speaker 4 (11:49):
W was it?
Speaker 8 (11:50):
Why do you feel compelled to bring back this face?
Speaker 9 (11:53):
To show to yourself again.
Speaker 7 (11:54):
Now is the space of the man.
Speaker 5 (12:05):
I've bet.
Speaker 1 (12:20):
Auto Light is bringing you Miss Agnes moorehead in death
and Miss Turner Tonight's presentation in radio's outstanding Theater of
Prill's suspense.
Speaker 8 (12:40):
A horror.
Speaker 7 (12:41):
Does my car have an auto light electrical system?
Speaker 1 (12:44):
It's sure do, Sheriff for yours is one of the
many leading makes of our finest cars, trucks and tractors
equipped with an auto light electrical system, and Auto Light
is the world's largest independent manufacturer of automotive electrical equipment.
What kind of chores does this system? Ner, well, Sheriff.
It goes to work at the flick of the ignition
switch and performs every second your engine runs. It works
(13:05):
too every time you turn on your radio, sound your horn,
use your electric windshield, wiper or heater. That's why it
will pay you to treat the electrical system of your
car to a periodic checkup at your car dealer's or
authorized auto light service station. You can find the location
of your nearest authorized auto light service station in the
classified section of the telephone directory under Automobile Electrical service,
(13:28):
or call Western Union by number and ask for operator
twenty five, and remember from bumper to tail lights, you're
always right with auto lights. And now auto light brings
back to our Hollywood sound stage, Miss Agnes moorehead in
Elliott Lewis's production of Death and Miss Turner, a tail
well calculated to keep you in.
Speaker 9 (13:51):
Tim You who murder this man? Man whose face you
have painted here?
Speaker 8 (14:03):
Yes? How did you murder him?
Speaker 7 (14:07):
I don't know.
Speaker 8 (14:08):
You have no recall of having actually done it. You're
unable to tell yourself where it happened or off when?
Speaker 7 (14:14):
No, Oh, I only I'm sure that I killed him.
Speaker 9 (14:21):
A Miss Turner. We're going to give you something to
make you sleep now, if you've just rolled up.
Speaker 8 (14:25):
Your sleep, Miss Briggs, please please.
Speaker 9 (14:31):
Yes for a period of time now we shall need
to help you sleep.
Speaker 8 (14:35):
I hope will be a brief one. You wanted to
sleep a great deal of recent months, haven't you. That
was because you were afraid of reality of your thoughts
while awake. Oh, you're always dozing off, taking an app
staying in bed till half the day was gone.
Speaker 4 (14:48):
No, no, I know I'm a murderous so I've earned
the right to be drugged into forgetting it.
Speaker 3 (14:54):
So you are.
Speaker 4 (14:57):
I was already dead.
Speaker 7 (14:58):
I'd forgotten.
Speaker 8 (14:59):
Why couldn't I We're allowed to die?
Speaker 7 (15:01):
Why not the fust before?
Speaker 11 (15:02):
While it didn't matter?
Speaker 3 (15:03):
What for?
Speaker 4 (15:04):
What?
Speaker 8 (15:04):
For a murder you you can't describe, but a man
who's death in circumstances pointing to violence. We have no record.
Why no one on earth has come forward to acchoose
you of any crime?
Speaker 3 (15:15):
How did you find me?
Speaker 4 (15:17):
What was I doing? Where was I when you found me?
Speaker 8 (15:20):
You must remember what happened yourself, lived through that horror again?
Only then will you know what it's true. Meantime, I
shall help you in every way I can hate me
if you like specifating yourself. Good night, Les Turners.
Speaker 3 (15:43):
So many years to remember, a life brought back to
thee my own, the figures and landscapes and people which
belonged to me, and nothing had demand the day before.
It is all there up until my birthday.
Speaker 4 (15:57):
What happened on the sixteen todays? I remember the night before.
It was the last thing I remembered until awaiting here
in the hospital. On the first day of May. I
was standing in the lobby of the hotel, just having
got off that with the elevator, and my bag was packed.
It was there at my feet, and the porter came
(16:20):
around from behind his boot and handed me an envelope.
Speaker 3 (16:24):
After that.
Speaker 11 (16:26):
Nothing black white piano tune train teach m barrister, lawyer,
palette paint porter tickets, the train uh.
Speaker 3 (16:52):
Snow white, snow white. She had that long train at
the doors, carried.
Speaker 8 (16:59):
Blood red train of thought.
Speaker 9 (17:04):
Miss Turner.
Speaker 8 (17:05):
Have you noticed anything about your response to this word
which the word train? I've put it to you three times,
and each time you, for some reason, avoided connoting what
one should expect to be the most commonplace definition. You
haven't answered with smoke or wheels or waterloo station or underground.
Have you any idea why you should be unwilling to
(17:26):
recognize the word train as a high speed conveyance traveling
on wheels on rails.
Speaker 7 (17:31):
I don't have any idea.
Speaker 3 (17:35):
A book dealer.
Speaker 9 (17:38):
Yorkshire train wreck. Thank you, miss Turner. I think that
will do us for the day.
Speaker 3 (17:51):
This Briggs took me back to my room. I was
in a fever. I did Harley walk. Straet kept gabbing
at my forward with her handkerchief, but it didn't do
any good.
Speaker 4 (18:00):
I could see your lips moving, probably asking me if
I was all right, and could she help me?
Speaker 3 (18:03):
But I couldn't hear her. There was another horrifying, terrible
psalm filling my ears.
Speaker 4 (18:10):
I held my hands over and trying to shut it out,
that it only grew louder, and my room.
Speaker 3 (18:14):
Miss Briggs tried to push me toward the bed.
Speaker 12 (18:16):
I could see you the strain, and you must lie down,
and I flushed her out of the war and lunch
for the canvas board. My hands and arms were numbers,
though they were floating out of my control, except that
they hated agonizingly.
Speaker 13 (18:27):
There were flashes before my eyes, toning ways that threw
my head back, and as though I was little badded
in some apocalyptic storms, came a frightful streaking torn from
the throat of a damn sow and torment.
Speaker 12 (18:40):
And I throw forward on the ground and stood say
so with me.
Speaker 13 (18:44):
And I saw the pig tried fainted, and the voice
was streaking with my own.
Speaker 7 (18:54):
Oh I can't.
Speaker 9 (19:08):
Roll up that sleep now, Miss Turner.
Speaker 8 (19:24):
The mixture is a little bit different this time, but
it will stop hurting in just a moment. M already.
Oh yeah, oh yeah, this picture you've just done, is
(19:45):
it good? I think it's extraordinarily good? Are you sleeping?
Speaker 3 (19:49):
Sleeping? Got away sleep but not asleep?
Speaker 9 (19:56):
Can you describe this picture to me as though I
hadn't seen?
Speaker 4 (20:02):
And then are sitting in a railway compartment looking out
of the window of a train opposite him, with her
back to us, as it is a woman. It's it's
as though we were the woman whose attention.
Speaker 8 (20:17):
Is on this man, as though we were this woman. Yes,
don't you mean that you are this woman? In moncerna?
Speaker 3 (20:28):
Yes? Yes I am.
Speaker 8 (20:31):
What day is it now?
Speaker 3 (20:34):
My birthday?
Speaker 8 (20:35):
April sixteenth, bastard?
Speaker 4 (20:37):
Yes, yes, as that is sath today, I'm us. I'm
aboard the Flying Scotsman Express. I'm on my way to
Edinburgh to paint for moors. I'm the first class compartment alone.
I'm relaxed and happy. I feel the urge to paint
(20:58):
something here as the train goes feeding along.
Speaker 3 (21:02):
And what do you friend?
Speaker 7 (21:04):
A man.
Speaker 4 (21:07):
That is the embodiment of a man, his posture, his clothes,
But for some reason I can't think his face.
Speaker 3 (21:16):
I know his face, but I.
Speaker 4 (21:17):
Find it impossible to transfer to the tendas. And there's
four separate versions of him. But each time my brush
remains poised in me their refusing to invade the oval
of white where the face should be. At Manchester, I
(21:41):
get out to stretch my legs, walking up and down
the station platform, and when I resume my compartment I
find that I have a fellow traveler sharing it with me.
Speaker 7 (21:54):
He's turned away as I enter.
Speaker 4 (21:56):
He's occupied with closing the window, as if he's begun
to raise outside. As I seek myself opposite him, he
turns to face me directly.
Speaker 3 (22:07):
He's a man.
Speaker 7 (22:09):
It's his face which is missing from.
Speaker 3 (22:11):
The porches, the lion, the chair beside me.
Speaker 1 (22:18):
How do you do?
Speaker 5 (22:19):
How do you do?
Speaker 7 (22:23):
How do you do?
Speaker 1 (22:26):
Pardon?
Speaker 9 (22:27):
Do you feel not?
Speaker 7 (22:28):
Well? Forgive me for staring at you? I didn't, I
mean looking at you in this way?
Speaker 4 (22:35):
He did?
Speaker 7 (22:36):
All right, I'm a painter, you see.
Speaker 9 (22:40):
I see?
Speaker 8 (22:42):
Yes, good, and I'll feel well.
Speaker 7 (22:46):
This is the impossible part. Yes, you see these pictures?
Speaker 8 (22:51):
M hm oh, yes, very interesting.
Speaker 4 (22:57):
I mean.
Speaker 9 (23:00):
Don't know who it is?
Speaker 1 (23:01):
His face?
Speaker 4 (23:02):
Oh, but I do know.
Speaker 7 (23:04):
I didn't feel I could do the face before, but
now I can.
Speaker 3 (23:08):
Oh sure, right, because it's your face, my face.
Speaker 8 (23:18):
Work for my face?
Speaker 7 (23:20):
Yes, yes, I know it's clear, but.
Speaker 8 (23:23):
I mean you are going to put my face in there.
Speaker 1 (23:26):
Yes, well all right if all right ahead?
Speaker 7 (23:35):
You mean now sure? H?
Speaker 8 (23:40):
What do I do?
Speaker 3 (23:41):
I mean?
Speaker 9 (23:43):
I am all right to sit here like this?
Speaker 7 (23:45):
Yes, yes, just that when please, if you choke your
head just a little more, this is all right.
Speaker 3 (23:53):
Yes, you're in the shadow.
Speaker 4 (23:56):
Though. If there was only a little more life, good
back have it?
Speaker 7 (24:00):
Would it? Would it be too much trouble?
Speaker 4 (24:02):
If we change places, they're good light here where I'm sitting.
If we change places out it over there.
Speaker 3 (24:08):
And you, oh change please?
Speaker 8 (24:11):
Sure?
Speaker 3 (24:16):
I sit down where he.
Speaker 4 (24:17):
Has been, and he places himself exactly where I've been
sitting a moment before.
Speaker 7 (24:22):
For a moment he looked at me, smiling, and then
it's happening.
Speaker 4 (24:29):
There's a grinding flashing, it says.
Speaker 7 (24:33):
Still smiling, spy.
Speaker 4 (24:35):
And then an in spangle of sprinkling wooden glass and
wending steel takes freely at you, and the start if
you stopping, I kill him?
Speaker 3 (24:49):
It was I.
Speaker 4 (24:53):
I did.
Speaker 9 (24:57):
It so f No, you didn't kill him.
Speaker 8 (25:16):
You know that now you remember you've come back from
the air, Drew Breesis.
Speaker 4 (25:31):
I'm going home sailing at midnight. It'll be midwinter with
snow on that Connecticut bridge. Those leafless elves and they're
rolling purple shadows. They gave me a farewell tea this afternoon,
and I even had a cocktail. The hostess was much
too busy to introduce us all around, but a very
(25:52):
nice gentleman came up to me and introduced himself.
Speaker 8 (25:55):
My name is Gryce. I'm a psychologist.
Speaker 7 (25:59):
I am Rachel.
Speaker 3 (26:02):
I'm a painter.
Speaker 1 (26:25):
Suspense presented by Autolite to night Star Miss Agnes Warhead.
This is Harlow Wilcox speaking for Autolite, world's largest independent
manufacturer of automotive electrical equipment. Autolite is proud to serve
the greatest names in the industry. They are members of
the Autolite Family, as well as are the ninety eight
(26:46):
thousand Autolite distributors and dealers in the United States and
thousands more in Canada and throughout the world. Our family
also includes the nearly thirty thousand men and women in
twenty eight great Autolite plants from coast to coast, and
Autolite plants in many foreign countries, as well as the
eighteen thousand people who have invested a portion of their
savings in Autolite. Every Autolite product is backed by constant
(27:10):
research and precision, built to the highest standards of quality
and performance. Still remember, from bumper to tail light, You're
always right with Autolite. Next Week a story based on
fact and taken from your morning newspaper, the exciting report
(27:33):
of one man's efforts to prevent a national tragedy. The
story is called Man Alive. Our star will be mister
Paul Douglas. That's next Week on Suspend. Suspense is transcribed
and directed by Elliot Lewis, with music composed by Lucian
(27:55):
Morrowick and conducted by Loud Gluskin. Death and Miss Turner
has written for suspense by William Spears. In Tonight's story,
Jeanette Nolan has heard as Miss Briggs, Joseph Kearns as
Doctor Bryce, Paul Freese is the man on the train,
and Charles Davis as the shopkeeper. Agnes Moorehead may currently
be seen touring in Don Juan in Hell by George
(28:17):
Bernard Shaw.
Speaker 13 (28:24):
You can buy auto light electrical parts, auto light SAFFO
batteries and autolight resistor offstand the type of partlers at
your neighborhood auto light dealers.
Speaker 3 (28:32):
Switch to auto light good night.
Speaker 9 (28:48):
This is the CBS Radio network.
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