November 18, 2025 • 29 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 (00:05):
And now the night's presentation of radio's outstanding theater of
friddles suspense. The Night the story of a man who
killed and the woman who helped him try to get
away with it. It's called Run, Sheep, Run, Our stars
Kathy and Elliot Lewis.
Speaker 2 (00:38):
Is that you, Joe? Hello, Hazel, I.
Speaker 3 (00:40):
Just want I'm gonna kill you.
Speaker 2 (00:43):
Now, Hazel? Why do you always say that I am
one of these days that.
Speaker 4 (00:46):
Hazel, Honey, it's the fog. I'm in a gas station now,
just below Rodondo. The fog has been so filling it again, fabricating, Honey,
making up story, Fog.
Speaker 3 (00:55):
Why don't you say, hail some other terrible storm of nature, typhoon.
Speaker 5 (00:58):
And be done with it, Fog.
Speaker 6 (01:00):
And here it's as clear as Chris.
Speaker 2 (01:01):
Honey, Hazel, who you.
Speaker 6 (01:03):
Got there with you? How many girls?
Speaker 5 (01:04):
Now?
Speaker 2 (01:05):
Hazel? You know all right? The FOG's lifting a little.
Speaker 4 (01:08):
I'll try to chance it now, but it's been so heavy, honest,
I thought I'd better pull up by the side of Honey.
Speaker 2 (01:13):
Hazel. Honey, Hazel, Oh, Hazel, Hazel.
Speaker 4 (01:38):
She's a fine girl, a good wife, a good cook,
runs a neat, clean home for me. But she's got
one fault a naggert. Another thing, always telling me I
make up story. A guy works eight hours a day
on the steel lath and an aircraft factory in El Segundo.
How much energy has he got left to make up
stories to his wife? Like about the fog, for instance?
Speaker 2 (01:56):
What's there to make up?
Speaker 4 (01:57):
Fog hits the coast of southern California, your regular light
clockwork this time of the year, like right now, it's
got a kind of gray white color, and it curls
in real slow from the ocean, and it stops up
the traffic. And from far away, over the honking of
the automobiles, you can hear the fog horns out.
Speaker 2 (02:15):
The sea and the ships, the freighters and the.
Speaker 4 (02:18):
Steamers, a very musical sound, far away sound, and it
reminds a guy of things like your ship hits a
port of call and you lean over the rail and
look out, and in the fog there's a face waiting
for you.
Speaker 2 (02:32):
Just for you, warm, beautiful and shit.
Speaker 4 (02:37):
Another thing, I'm a singer. By drive in my car,
I like to sing.
Speaker 2 (02:45):
So to do oh bah boo, oh the young yin' hook.
Her face was very beautiful. My headlights hit it just right.
Speaker 4 (02:59):
No mistake, not the fog not to moved, a very
stunning face and the smile sweet. And she was standing
a little way in the street, holding up her thumb
for a ride.
Speaker 2 (03:09):
Hi ride, ride, sure, hop in.
Speaker 3 (03:16):
A thank you, thank you everything, le don't mention it
what I like it?
Speaker 2 (03:29):
Oh?
Speaker 3 (03:30):
I like the fogs and the ceiling of being lost
in it?
Speaker 2 (03:33):
You do? Oh?
Speaker 3 (03:33):
Yeah, yeah? If I was a thousand miles away from
anything and anyone, nice, seating, exciting, seecret and exciting.
Speaker 2 (03:46):
How come h yeah, a girl like you? How come
you have to? Right?
Speaker 3 (03:50):
I mean, you mean why I was hitching a ride
a girl like you. My car sold about a half
mile back, and I was alone anything about cars, So
I just left it there and started to walk. Then
I remembered my thumb. I just held it up with.
Speaker 2 (04:03):
Somebody like you. What I mean is it could be
dangerous getting a.
Speaker 4 (04:07):
Lift from just anybody, get in some stranger's car and not.
Speaker 2 (04:10):
Know what kind of you'd worry about. Well, yes, yes
I would.
Speaker 3 (04:17):
Cal's just girlin and it's general.
Speaker 2 (04:22):
Well it's just if I knew anyone like you, i'd worry.
Speaker 3 (04:25):
I like you.
Speaker 2 (04:27):
You headed for Long Beach.
Speaker 3 (04:30):
You get to that stops down. Up ahead, turn.
Speaker 2 (04:31):
Left, Why Coast Highway. I'll take us right into Maybe
it won't.
Speaker 3 (04:34):
Be as crowded as the Coast Highway, and maybe not
too foggy. M Maybe it is a little out of
the way, maybe it'll take longer.
Speaker 2 (04:43):
But left, just up ahead.
Speaker 4 (04:46):
Yeah, I live in Long Beach, work in else Segundo,
make the drive every morning and night.
Speaker 2 (04:54):
I live in Long Beach. Where do you?
Speaker 3 (04:56):
What's your name?
Speaker 2 (04:57):
Joe, Joe Heywood?
Speaker 3 (04:58):
Why is your burden?
Speaker 2 (05:00):
Yes? Roberta?
Speaker 3 (05:01):
What it's Roberta? Call me Bobby? You want no?
Speaker 2 (05:07):
I like Roberta.
Speaker 4 (05:08):
I like I can be driving through the fog and
see a lovely and see her and stop so as
I can help out a girl whose name is.
Speaker 3 (05:15):
Roberta in Shining. Uh, two banneries is missed in Shining.
Speaker 2 (05:22):
My wife's name is Hazel.
Speaker 3 (05:26):
Joe and Hazel Joe and Roberta.
Speaker 2 (05:32):
Joe. It's bumpy, rough.
Speaker 3 (05:37):
Yeah, I told you. Maybe it take as long.
Speaker 5 (05:39):
Fogs just as heavy, heavier, h nice doudity dood too,
doudo right.
Speaker 2 (05:52):
Roses bubble.
Speaker 3 (05:58):
Watch y'all?
Speaker 7 (05:59):
Joe?
Speaker 2 (06:00):
No, what.
Speaker 3 (06:05):
You hit him and ran over?
Speaker 2 (06:07):
And what are you talking about?
Speaker 3 (06:09):
I didn't see it, Joe, the fogging you were looking
at me?
Speaker 2 (06:13):
You mean it? You mean I come on home?
Speaker 3 (06:19):
You back out of the car, take a look.
Speaker 4 (06:23):
Yeah, maybe I better, Oh, Joe, like you said, I
hit a man.
Speaker 2 (06:39):
I ran over him. Oh Joe, he's dead.
Speaker 3 (06:44):
Sure, Julie, you know sometimes a quick look like that.
Speaker 6 (06:47):
You can't.
Speaker 3 (06:50):
Sure.
Speaker 2 (06:50):
Sure I killed him?
Speaker 7 (06:53):
Joe?
Speaker 3 (06:54):
What's gonna happen to you? What happens now?
Speaker 2 (06:58):
No? Just keep quiet, man, huh.
Speaker 3 (07:03):
Roberta, A nice person like you, a really wonderful person,
to get mixed up in a thing like this, and
and police won't you tell them how you were riding
along singing I'm looking at me and.
Speaker 4 (07:19):
Manslaughter that's what they'll doing.
Speaker 2 (07:24):
Okay, Roberta darker, you're worried, you're worried about me. Good listen, listen, Roberta,
just listen to me. It's trouble, that's terrible trouble. And
I don't know what to do. A thing like this
never happened never. I'm all mixed up.
Speaker 3 (07:45):
Let's get away from here.
Speaker 2 (07:47):
That's just like kill the man.
Speaker 3 (07:49):
Let's get away from hear me, it's never happened. Away
from I won't tell honest. I won't tell. I never tell, Joe, Joe,
we can't just sit here, please please, please, please, all right,
all right.
Speaker 4 (08:19):
I don't know too much about things like this, so
I can't explain not exactly what it feels like to
kill a man. And I can't explain not exactly what
it felt like to hear her sobbing, the girl whose
name was just Roberta, and the way she leaned her
head against my shoulder and sat close and shivered and
then was quiet, real quiet, and not moving away from me,
(08:39):
just staring straight into the fog. I kept driving, is
all I know. Like it was some mechanical reflex. I
got back on the Coast Highway and kept driving past
where I lived, past Long Beach, past Seal Beach, past
Balboa South, just outside Laguna, the.
Speaker 2 (08:56):
Fog started to lift. It's okay, we're a long way
from You're okay, yeah, and you I'm okay.
Speaker 3 (09:08):
Where are we?
Speaker 4 (09:09):
Just outside of Laguna? Keep your eye on the rear
view mirror, whill you Roberta? The car just behind picked
me up outside Balbo. I think he's been following me.
Speaker 2 (09:21):
Maybe.
Speaker 3 (09:23):
I don't know any way to tell for sure, I.
Speaker 2 (09:25):
Know way there's a place just up the head cocktail
bar parking lot. I'll turn in there. I guess I'm
just jumpy and scared, very scared. I don't my saying.
Speaker 3 (09:45):
As long as we're here, As.
Speaker 4 (09:47):
Long as we're here, a drink would help relax me,
let me think instead of being all nototed up inside.
You want to Yeah, Yeah, it was a place Hazel
and I used to go to a lot before we
were married, that kind of place jutting out over the
ocean and a glass wall to look through at whatever
(10:08):
horizon your head in mind that evening candles and wrought
iron on every table, and piano music and the sound
of the ocean washing against the beach, and the place
swaying with the tides rolling in from the South Pacific.
Speaker 2 (10:23):
About a place like that, I can talk like that.
We found a table close to the.
Speaker 4 (10:28):
Glass wall, and I asked Roberta to order for me,
and I asked it to excuse me for just a minute,
as I had a phone call to me operator, I
want terminal two one four seven six in Long Beach.
Speaker 2 (10:42):
Opera one moment.
Speaker 3 (10:45):
That'll be fifteen ten street.
Speaker 6 (10:47):
Yes, ma'am, I'll ring your number.
Speaker 2 (11:02):
Hello, it's Joe, honey.
Speaker 1 (11:04):
You better be calling from a Hoste's what I've got
to say to you.
Speaker 2 (11:06):
Just listen with you. Something happens.
Speaker 6 (11:08):
A broken leg two broken legs?
Speaker 3 (11:10):
What what happened to you?
Speaker 2 (11:12):
Were you just listen to me?
Speaker 6 (11:13):
Or maybe you got mixed up to some gambling parlor.
Speaker 3 (11:15):
You don't dare show your face back home because the
lost every penny ever had the house.
Speaker 2 (11:19):
It's honey, it's nothing like that. It's a lembler.
Speaker 7 (11:23):
Oh oh hello, I'm sorry, sir. I thought I recognized
a young lady. I was wrong.
Speaker 3 (11:37):
That's ready. He thought he recognized me.
Speaker 2 (11:40):
Oh yeah, yeah, it'd be a good chap to take
my word for it, her word too.
Speaker 7 (11:47):
I'm very sorry, Can I, lady? Can I say? Hey?
Speaker 2 (11:51):
Now you just wait a me?
Speaker 3 (11:52):
What happened? He thought he knew me. I was setting
him right. When your kid, come on high, come on,
sit down. I've been waiting. I waited to drink with you.
Joe and Robert.
Speaker 4 (12:13):
Joe and ROBERTA we drank our drink and I ordered
another one, and we drank that not a whole lot
of talk. Sat and looked at the ocean, and in
a while the clouds over the water moved away to
some other country, some other ocean, and there was left
the moon. People often remark how nice I talk about
pretty think, But there was no talk that night anyway,
(12:37):
hardly any talk at all, just the music from the
piano and another drink, and not to think what happened
way back there outside of Redondo, not say it. I
guess I must have looked at Roberta in some ways.
Speaker 3 (12:51):
That we better go, not yet, we better come on, Joe, please.
Speaker 7 (12:58):
Yeah, I bet so.
Speaker 4 (13:00):
I called over the waiter and paid him and gave
him a very nice large tip, and we went outside.
Speaker 2 (13:09):
And in the parking lot, I saw.
Speaker 3 (13:12):
What can matter? Why used to tell?
Speaker 2 (13:15):
Uh? A car park there?
Speaker 7 (13:17):
What about it?
Speaker 2 (13:18):
It's just like the car. It's always following me, exactly
the same car. I swirled.
Speaker 3 (13:23):
They let me drive, Joe, Hm, maybe you've got to
relax in those drinks. Maybe be better if I drove,
Give me the.
Speaker 7 (13:30):
Keys until come on, Yeah, it'll be better.
Speaker 2 (13:33):
You drive hur my keys.
Speaker 7 (13:40):
R very ruby, how healthy and h.
Speaker 2 (13:44):
R very ver great ru very. I'm sorry. I'm sorry
(14:07):
for for what I got you into and for being
kind of lowder.
Speaker 3 (14:12):
The way I have just put your head on my shoulder.
You don't think of anything.
Speaker 6 (14:17):
Oh graphic accident drew out the talkway. California State Highway
Patrol reports that a short while ago, a man was
found dead on Vernon Avenue outside your docto as. Yes,
he is unidentified, but he is a victim of a
hid and run driver. The Highway Patrol has asked if
this announcement be made so that any person or a
(14:39):
person who may have seen the accident will immediately for Bertha.
Speaker 2 (14:43):
They mean me. They maybe what am I gonna do?
Speaker 7 (14:45):
What?
Speaker 2 (14:46):
But you heard it though? For sure?
Speaker 3 (14:48):
What that's what you're gonna do? Sleep, Close your eyes
and nestle close and sleep. Sleep Patrol.
Speaker 2 (14:58):
Yeah, maybe so my help, queer God.
Speaker 1 (15:26):
You are listening to Kathy and Elliot Lewis in Morton
Fine and David Freakin's story Run Sheep Run Tonight's presentation
in radio's outstanding Theater of Thrills Suspense Tomorrow Night, CBS
(15:48):
Radio's twenty first Precinct thriller begins in the early morning
hours when a woman approaches a cop on his beat
and announces, I just shot my husband. It's another poignant
story of Captain Kennelly's twenty first precinct titled The Shotgun,
one that will touch your heartstrings. Hear it on most
of these same stations tomorrow night for another revealing insight
on the human element in police's work. And now we
(16:10):
bring back to our Hollywood downstage cafe and Elliott Lewis
and mister Lewis's production of Run Sheep, Run a Tail
Well calculated to.
Speaker 5 (16:19):
Keep you in a spring, I hear.
Speaker 3 (16:42):
I sleepy head, Hell you sleep, don't think about it, worry.
Just south of San Diego will be a national city
in little while.
Speaker 2 (16:54):
You know what I did. I don't want you to
think I chilled the man for my sake running away.
Look over there, the son's coming up. See it's the
start of my first day as a fugitive.
Speaker 3 (17:04):
It's honey, honey, of course, it's honey. What we've been
through together.
Speaker 4 (17:11):
Just a minute, everything seems different. It's a new day,
and my mind's refreshed.
Speaker 2 (17:16):
I know what you're talking perspective.
Speaker 3 (17:18):
Everything's terrible, the honey, everything was terrible last night.
Speaker 4 (17:21):
In the light of a new day, Listen, I've killed
a man and I'm running away from him.
Speaker 3 (17:24):
That's right.
Speaker 2 (17:25):
Joe Heywood, murderer, Joe Heywood murder.
Speaker 3 (17:29):
I don't think about it in Mexico. In Mexico, have
you ever dreamed of Mexico?
Speaker 2 (17:34):
Joe very often?
Speaker 3 (17:35):
In an hour? Mexico with me last night?
Speaker 2 (17:41):
I don't know what happens. We've seen that poor man
lying there. I guess it was shot. What made me do?
Speaker 7 (17:47):
Joe?
Speaker 3 (17:48):
Mexico with me?
Speaker 2 (17:50):
Joe? First? There was a girl out of the fox
me Joe.
Speaker 3 (17:55):
And I'm beside you now? And what are you shaking
your head for? Am I not pretty anymore?
Speaker 2 (18:01):
In the morning? Beautiful? I didn't work? Stop the car?
Why quick? Stop the car.
Speaker 7 (18:10):
Now?
Speaker 4 (18:10):
I'm going to make a telephone call that phone booths
in the filling station.
Speaker 3 (18:13):
Who are you going to call?
Speaker 2 (18:14):
Hazel? You know I'm going to call Hazel. She's my wife.
I just got to call her. I'm going to tell
her everything how I killed a man.
Speaker 6 (18:34):
Operators your number three.
Speaker 4 (18:37):
I want perminal two, one, four, seven, six and long
beach Operators.
Speaker 3 (18:42):
That will be for the first three minutes, Yes, ma'am.
Speaker 2 (18:51):
In a quarter, Thank you, Joe, Joe, where I I'm
coming in, Hazel.
Speaker 4 (19:05):
I'm gonna give myself up. I'm gonna face the music, Hazel.
The long story, Hazel, what's happened to me in the
strangeness of events leading up?
Speaker 2 (19:16):
Hazel? Listen to me playing?
Speaker 6 (19:18):
And who are those girls out here?
Speaker 2 (19:19):
Laughing?
Speaker 3 (19:20):
There's I'll bet you and whine and whiskey.
Speaker 2 (19:23):
Joe, you hear me, Joe, Hazel, Please.
Speaker 3 (19:26):
Don't come home. Don't ever come home now.
Speaker 4 (19:30):
Don't say that baby doll Hazel.
Speaker 2 (19:32):
Hazel.
Speaker 3 (19:34):
Oh well, look at me, Joe, and you come on
and look at me. That's that you certainly are a
(19:56):
changed person in the morning. You know that anybody ever told.
Speaker 2 (19:59):
You you know something? I don't understand you at all.
Speaker 3 (20:05):
I'm glad you a little mystery.
Speaker 2 (20:07):
And Roberta, my wife is really worried about me. Roberta,
we're going back. What We're going back and you'll.
Speaker 3 (20:15):
Test you know I'm not.
Speaker 2 (20:17):
It's the only way. Not me Jack Jack? What did
you call me?
Speaker 3 (20:25):
Jack? It's a phrase?
Speaker 2 (20:27):
You want to know what? You don't look pretty anymore?
Speaker 3 (20:31):
He wants to go back.
Speaker 2 (20:33):
What is this?
Speaker 3 (20:34):
He wants me to go back with him to testify.
Speaker 2 (20:36):
I know you. I know him, Roberta.
Speaker 4 (20:38):
He's the fellow who was talking at the bar when
I came back.
Speaker 7 (20:41):
I know you.
Speaker 2 (20:42):
What's going on here. What do you mean? What's going
on here? What does his chap mean when he says
what's going on here?
Speaker 3 (20:49):
Buddy, Bobby, he tells me that you didn't want to,
but he does.
Speaker 2 (20:54):
You please get out of my car.
Speaker 4 (20:56):
Okay, don't struggle with me, fella, because I'll be making
my goal the steering wheels.
Speaker 3 (21:01):
Okay, now, not come on out here.
Speaker 2 (21:04):
Oh, something's funny, very very funny. The whole thing, the
back road and Robert.
Speaker 4 (21:21):
Now, that was the first time in my whole life
I'd ever been knocked unconscious by another fella.
Speaker 2 (21:26):
I didn't see him hit me.
Speaker 4 (21:27):
Whether or not that would have made a difference, I
don't know. I've been called agile. I might have ducked
or something.
Speaker 2 (21:34):
And I don't remember anything. When I was out spinning wheels.
Speaker 4 (21:36):
Of color and voices and rockets bursting and sound.
Speaker 7 (21:40):
Nothing.
Speaker 2 (21:42):
I opened my eyes. I was flat on my back up.
I got up into the car behind the wheel. I
got into the car behind the wheel. ROBERTA was sitting
beside me.
Speaker 3 (21:54):
This is a gun Joe.
Speaker 7 (21:55):
That's a gun Joe.
Speaker 2 (21:57):
She'll tell you what a drive your driver there?
Speaker 3 (22:00):
Yeah, shoot you, I will Joe straight down the road.
Speaker 2 (22:07):
And I'll be following along in my bye.
Speaker 7 (22:19):
Hi.
Speaker 2 (22:22):
You were a liar from the word go. Weren't you
with a gun?
Speaker 3 (22:27):
Take your eyes off it?
Speaker 2 (22:28):
Watch the road with a gun?
Speaker 7 (22:29):
M M.
Speaker 2 (22:31):
Where are we going? Us?
Speaker 3 (22:33):
Route one on one?
Speaker 7 (22:34):
Joe?
Speaker 3 (22:34):
Just follow the highway.
Speaker 2 (22:36):
Look at you, pretty girl like you sitting there with
a pistol.
Speaker 3 (22:40):
Straight down the road to Mexico. I promised you Mexico, didn't.
Speaker 2 (22:44):
I You think I'm stupid, don't you?
Speaker 6 (22:48):
No, I don't.
Speaker 3 (22:50):
I'd rather what's gonna happen? Wouldn't happen to you?
Speaker 7 (22:52):
Joe?
Speaker 2 (22:52):
Still you shoot me?
Speaker 3 (22:54):
Yes?
Speaker 2 (22:54):
I would.
Speaker 4 (22:56):
I don't pity you, Roberta. I guess I should, but
I just don't. What's gonna happen?
Speaker 3 (23:03):
You killed him?
Speaker 7 (23:04):
Man?
Speaker 3 (23:04):
Remember I'm not so sure.
Speaker 2 (23:07):
What's the matter?
Speaker 3 (23:08):
Not so sure?
Speaker 2 (23:09):
He said?
Speaker 3 (23:10):
The light flash?
Speaker 2 (23:11):
What's gonna happen?
Speaker 3 (23:12):
Well, I'll say we're gonna drive straight through the tea
water You like te orners? Alright, Well, we're gonna drive
straight through. Then I think March is he.
Speaker 2 (23:24):
Gonna kill me?
Speaker 4 (23:25):
N I don't think he's gonna kill me. He's gonna
use me for a patsy.
Speaker 3 (23:31):
Patsy, what are you doing? With that boy.
Speaker 2 (23:33):
I read, I read twenty and you are so right.
Speaker 3 (23:39):
You're gonna be a patsy. Dump you in the car
below Mexico where the police can find you. By the
time they do, they'll have words of the guy running
away from a hit and run outside.
Speaker 2 (23:47):
Redundant potsy, that's the word. Joe, I didn't kill that
man at all? Yeah you did. I did, Yes, you did.
Speaker 3 (23:55):
If they had, Joe, is the border.
Speaker 2 (23:59):
Behave?
Speaker 3 (24:01):
Take your eye off the road for a second, look
at this gun. Now back on the road.
Speaker 2 (24:08):
Just behave.
Speaker 7 (24:09):
That's all.
Speaker 3 (24:10):
I got a story all fixed just in case the
border God, just behave.
Speaker 2 (24:22):
Good morning and welcome to Maico. We hope you enjoy
your stay. And where were you born?
Speaker 7 (24:27):
Me? If you please?
Speaker 2 (24:28):
Ohio, And you said you are Where were you born? Ah?
Speaker 4 (24:32):
Your father's cucaracha, your father's cucaracha.
Speaker 2 (24:36):
Jack.
Speaker 4 (24:36):
I did not understand these beliegion and signor I wish
only to hear which the state you were born?
Speaker 2 (24:40):
He so is kumprasita.
Speaker 4 (24:41):
I can deny you permission to make why it will
avail you nothing, Madam.
Speaker 2 (24:44):
This man has insulted me.
Speaker 4 (24:46):
I subjected him suggesting you want a suggestion Jack. The
guy not car driving a fuck ahead.
Speaker 3 (24:50):
God, my friend here is upset.
Speaker 2 (24:51):
The guy driving up.
Speaker 4 (24:52):
He's the parts of the international smuggling ring.
Speaker 3 (24:54):
Ring will turn back.
Speaker 2 (24:56):
Guard my guard.
Speaker 4 (24:57):
He's back in two hundred grand in a suitcase. That
fellow there on the Grace Dan suitcase full of money,
very big smuggler into Gratia Dana, one of points with
the gray sedan.
Speaker 2 (25:04):
The Fellows turning around.
Speaker 4 (25:06):
Yes, I see, Senor fell Senor, wait on.
Speaker 3 (25:29):
When you accept the chargers.
Speaker 2 (25:30):
He's in Mexico.
Speaker 3 (25:32):
Do you want to put him on?
Speaker 6 (25:34):
Go ahead?
Speaker 4 (25:34):
Her?
Speaker 2 (25:36):
Oh, Hazel, I've been told.
Speaker 6 (25:39):
You're in Mexico.
Speaker 2 (25:40):
Joe, Yes, Hazel, I am Please tell me. Why will
you listen?
Speaker 6 (25:45):
Of course I'll listen.
Speaker 2 (25:47):
I thought I had murdered.
Speaker 4 (25:48):
Somebody murdered, somebody hit and run. It's the same thing,
it is, But Robert and Mark really did it. Beat
up a friend for the money he had that he'd
won in Vegas, and I was kidnapped, Hazel.
Speaker 2 (25:57):
He tried to get away, but the border guards.
Speaker 4 (25:59):
Grabbed him and he found nearly ten thousand dollars in
his suitcase. Boy, was I surprised they got Roberta When she.
Speaker 2 (26:04):
Tried Hazel, Are you there? Who kidnapped you? Roberta and Mark?
But it's all right. I tricked him at the border.
Roberta had a gun on me. But Hazel, Hazel.
Speaker 1 (26:14):
Oh the spence in which Campie and Elliott Lewis were starting,
(26:42):
Run Sheep Run.
Speaker 8 (26:44):
What's your definition of the criminal type? Have you ever
looked at a man or woman decided inwardly, we hope
that person is the criminal type. If so, you'll be
fascinated by what befalls Casey, crime photographer Tomorrow Night when
he gets involved in a case he blithely labeled the
criminal type. Surprise follows surprise, Thrill follows thrill when CBS
Radio's crime photographer takes his latest case Tomorrow Night on
(27:08):
most of these same stations. Next week, the story of
a man no one believed even when he confessed to
a murder. Anthony Ellis will be starred in his own
adaptation of Elizabeth Bowen's telling that's next Week on Suspense.
Speaker 1 (27:33):
Suspense is produced and directed by Elliot Lewis, with music
composed by Lucian Morrowick and conducted by lud Bluskin. Run
Sheep Run was written for Suspriens by Morton Fine and
David Friedkin featured in the Vices cast for Irene Pedrow,
mary Landsling, Tony Barrett and Jack Prussian. And remember next
(27:57):
week Antony Ellis's adaptation of Eliza, a Bourn story telling.
Speaker 8 (28:07):
You can join the FBI in Peace and War Wednesday
on the CBS Radio network
And now the night's presentation of radio's outstanding theater of
friddles suspense. The Night the story of a man who
killed and the woman who helped him try to get
away with it. It's called Run, Sheep, Run, Our stars
Kathy and Elliot Lewis.
Speaker 2 (00:38):
Is that you, Joe? Hello, Hazel, I.
Speaker 3 (00:40):
Just want I'm gonna kill you.
Speaker 2 (00:43):
Now, Hazel? Why do you always say that I am
one of these days that.
Speaker 4 (00:46):
Hazel, Honey, it's the fog. I'm in a gas station now,
just below Rodondo. The fog has been so filling it again, fabricating, Honey,
making up story, Fog.
Speaker 3 (00:55):
Why don't you say, hail some other terrible storm of nature, typhoon.
Speaker 5 (00:58):
And be done with it, Fog.
Speaker 6 (01:00):
And here it's as clear as Chris.
Speaker 2 (01:01):
Honey, Hazel, who you.
Speaker 6 (01:03):
Got there with you? How many girls?
Speaker 5 (01:04):
Now?
Speaker 2 (01:05):
Hazel? You know all right? The FOG's lifting a little.
Speaker 4 (01:08):
I'll try to chance it now, but it's been so heavy, honest,
I thought I'd better pull up by the side of Honey.
Speaker 2 (01:13):
Hazel. Honey, Hazel, Oh, Hazel, Hazel.
Speaker 4 (01:38):
She's a fine girl, a good wife, a good cook,
runs a neat, clean home for me. But she's got
one fault a naggert. Another thing, always telling me I
make up story. A guy works eight hours a day
on the steel lath and an aircraft factory in El Segundo.
How much energy has he got left to make up
stories to his wife? Like about the fog, for instance?
Speaker 2 (01:56):
What's there to make up?
Speaker 4 (01:57):
Fog hits the coast of southern California, your regular light
clockwork this time of the year, like right now, it's
got a kind of gray white color, and it curls
in real slow from the ocean, and it stops up
the traffic. And from far away, over the honking of
the automobiles, you can hear the fog horns out.
Speaker 2 (02:15):
The sea and the ships, the freighters and the.
Speaker 4 (02:18):
Steamers, a very musical sound, far away sound, and it
reminds a guy of things like your ship hits a
port of call and you lean over the rail and
look out, and in the fog there's a face waiting
for you.
Speaker 2 (02:32):
Just for you, warm, beautiful and shit.
Speaker 4 (02:37):
Another thing, I'm a singer. By drive in my car,
I like to sing.
Speaker 2 (02:45):
So to do oh bah boo, oh the young yin' hook.
Her face was very beautiful. My headlights hit it just right.
Speaker 4 (02:59):
No mistake, not the fog not to moved, a very
stunning face and the smile sweet. And she was standing
a little way in the street, holding up her thumb
for a ride.
Speaker 2 (03:09):
Hi ride, ride, sure, hop in.
Speaker 3 (03:16):
A thank you, thank you everything, le don't mention it
what I like it?
Speaker 2 (03:29):
Oh?
Speaker 3 (03:30):
I like the fogs and the ceiling of being lost
in it?
Speaker 2 (03:33):
You do? Oh?
Speaker 3 (03:33):
Yeah, yeah? If I was a thousand miles away from
anything and anyone, nice, seating, exciting, seecret and exciting.
Speaker 2 (03:46):
How come h yeah, a girl like you? How come
you have to? Right?
Speaker 3 (03:50):
I mean, you mean why I was hitching a ride
a girl like you. My car sold about a half
mile back, and I was alone anything about cars, So
I just left it there and started to walk. Then
I remembered my thumb. I just held it up with.
Speaker 2 (04:03):
Somebody like you. What I mean is it could be
dangerous getting a.
Speaker 4 (04:07):
Lift from just anybody, get in some stranger's car and not.
Speaker 2 (04:10):
Know what kind of you'd worry about. Well, yes, yes
I would.
Speaker 3 (04:17):
Cal's just girlin and it's general.
Speaker 2 (04:22):
Well it's just if I knew anyone like you, i'd worry.
Speaker 3 (04:25):
I like you.
Speaker 2 (04:27):
You headed for Long Beach.
Speaker 3 (04:30):
You get to that stops down. Up ahead, turn.
Speaker 2 (04:31):
Left, Why Coast Highway. I'll take us right into Maybe
it won't.
Speaker 3 (04:34):
Be as crowded as the Coast Highway, and maybe not
too foggy. M Maybe it is a little out of
the way, maybe it'll take longer.
Speaker 2 (04:43):
But left, just up ahead.
Speaker 4 (04:46):
Yeah, I live in Long Beach, work in else Segundo,
make the drive every morning and night.
Speaker 2 (04:54):
I live in Long Beach. Where do you?
Speaker 3 (04:56):
What's your name?
Speaker 2 (04:57):
Joe, Joe Heywood?
Speaker 3 (04:58):
Why is your burden?
Speaker 2 (05:00):
Yes? Roberta?
Speaker 3 (05:01):
What it's Roberta? Call me Bobby? You want no?
Speaker 2 (05:07):
I like Roberta.
Speaker 4 (05:08):
I like I can be driving through the fog and
see a lovely and see her and stop so as
I can help out a girl whose name is.
Speaker 3 (05:15):
Roberta in Shining. Uh, two banneries is missed in Shining.
Speaker 2 (05:22):
My wife's name is Hazel.
Speaker 3 (05:26):
Joe and Hazel Joe and Roberta.
Speaker 2 (05:32):
Joe. It's bumpy, rough.
Speaker 3 (05:37):
Yeah, I told you. Maybe it take as long.
Speaker 5 (05:39):
Fogs just as heavy, heavier, h nice doudity dood too,
doudo right.
Speaker 2 (05:52):
Roses bubble.
Speaker 3 (05:58):
Watch y'all?
Speaker 7 (05:59):
Joe?
Speaker 2 (06:00):
No, what.
Speaker 3 (06:05):
You hit him and ran over?
Speaker 2 (06:07):
And what are you talking about?
Speaker 3 (06:09):
I didn't see it, Joe, the fogging you were looking
at me?
Speaker 2 (06:13):
You mean it? You mean I come on home?
Speaker 3 (06:19):
You back out of the car, take a look.
Speaker 4 (06:23):
Yeah, maybe I better, Oh, Joe, like you said, I
hit a man.
Speaker 2 (06:39):
I ran over him. Oh Joe, he's dead.
Speaker 3 (06:44):
Sure, Julie, you know sometimes a quick look like that.
Speaker 6 (06:47):
You can't.
Speaker 3 (06:50):
Sure.
Speaker 2 (06:50):
Sure I killed him?
Speaker 7 (06:53):
Joe?
Speaker 3 (06:54):
What's gonna happen to you? What happens now?
Speaker 2 (06:58):
No? Just keep quiet, man, huh.
Speaker 3 (07:03):
Roberta, A nice person like you, a really wonderful person,
to get mixed up in a thing like this, and
and police won't you tell them how you were riding
along singing I'm looking at me and.
Speaker 4 (07:19):
Manslaughter that's what they'll doing.
Speaker 2 (07:24):
Okay, Roberta darker, you're worried, you're worried about me. Good listen, listen, Roberta,
just listen to me. It's trouble, that's terrible trouble. And
I don't know what to do. A thing like this
never happened never. I'm all mixed up.
Speaker 3 (07:45):
Let's get away from here.
Speaker 2 (07:47):
That's just like kill the man.
Speaker 3 (07:49):
Let's get away from hear me, it's never happened. Away
from I won't tell honest. I won't tell. I never tell, Joe, Joe,
we can't just sit here, please please, please, please, all right,
all right.
Speaker 4 (08:19):
I don't know too much about things like this, so
I can't explain not exactly what it feels like to
kill a man. And I can't explain not exactly what
it felt like to hear her sobbing, the girl whose
name was just Roberta, and the way she leaned her
head against my shoulder and sat close and shivered and
then was quiet, real quiet, and not moving away from me,
(08:39):
just staring straight into the fog. I kept driving, is
all I know. Like it was some mechanical reflex. I
got back on the Coast Highway and kept driving past
where I lived, past Long Beach, past Seal Beach, past
Balboa South, just outside Laguna, the.
Speaker 2 (08:56):
Fog started to lift. It's okay, we're a long way
from You're okay, yeah, and you I'm okay.
Speaker 3 (09:08):
Where are we?
Speaker 4 (09:09):
Just outside of Laguna? Keep your eye on the rear
view mirror, whill you Roberta? The car just behind picked
me up outside Balbo. I think he's been following me.
Speaker 2 (09:21):
Maybe.
Speaker 3 (09:23):
I don't know any way to tell for sure, I.
Speaker 2 (09:25):
Know way there's a place just up the head cocktail
bar parking lot. I'll turn in there. I guess I'm
just jumpy and scared, very scared. I don't my saying.
Speaker 3 (09:45):
As long as we're here, As.
Speaker 4 (09:47):
Long as we're here, a drink would help relax me,
let me think instead of being all nototed up inside.
You want to Yeah, Yeah, it was a place Hazel
and I used to go to a lot before we
were married, that kind of place jutting out over the
ocean and a glass wall to look through at whatever
(10:08):
horizon your head in mind that evening candles and wrought
iron on every table, and piano music and the sound
of the ocean washing against the beach, and the place
swaying with the tides rolling in from the South Pacific.
Speaker 2 (10:23):
About a place like that, I can talk like that.
We found a table close to the.
Speaker 4 (10:28):
Glass wall, and I asked Roberta to order for me,
and I asked it to excuse me for just a minute,
as I had a phone call to me operator, I
want terminal two one four seven six in Long Beach.
Speaker 2 (10:42):
Opera one moment.
Speaker 3 (10:45):
That'll be fifteen ten street.
Speaker 6 (10:47):
Yes, ma'am, I'll ring your number.
Speaker 2 (11:02):
Hello, it's Joe, honey.
Speaker 1 (11:04):
You better be calling from a Hoste's what I've got
to say to you.
Speaker 2 (11:06):
Just listen with you. Something happens.
Speaker 6 (11:08):
A broken leg two broken legs?
Speaker 3 (11:10):
What what happened to you?
Speaker 2 (11:12):
Were you just listen to me?
Speaker 6 (11:13):
Or maybe you got mixed up to some gambling parlor.
Speaker 3 (11:15):
You don't dare show your face back home because the
lost every penny ever had the house.
Speaker 2 (11:19):
It's honey, it's nothing like that. It's a lembler.
Speaker 7 (11:23):
Oh oh hello, I'm sorry, sir. I thought I recognized
a young lady. I was wrong.
Speaker 3 (11:37):
That's ready. He thought he recognized me.
Speaker 2 (11:40):
Oh yeah, yeah, it'd be a good chap to take
my word for it, her word too.
Speaker 7 (11:47):
I'm very sorry, Can I, lady? Can I say? Hey?
Speaker 2 (11:51):
Now you just wait a me?
Speaker 3 (11:52):
What happened? He thought he knew me. I was setting
him right. When your kid, come on high, come on,
sit down. I've been waiting. I waited to drink with you.
Joe and Robert.
Speaker 4 (12:13):
Joe and ROBERTA we drank our drink and I ordered
another one, and we drank that not a whole lot
of talk. Sat and looked at the ocean, and in
a while the clouds over the water moved away to
some other country, some other ocean, and there was left
the moon. People often remark how nice I talk about
pretty think, But there was no talk that night anyway,
(12:37):
hardly any talk at all, just the music from the
piano and another drink, and not to think what happened
way back there outside of Redondo, not say it. I
guess I must have looked at Roberta in some ways.
Speaker 3 (12:51):
That we better go, not yet, we better come on, Joe, please.
Speaker 7 (12:58):
Yeah, I bet so.
Speaker 4 (13:00):
I called over the waiter and paid him and gave
him a very nice large tip, and we went outside.
Speaker 2 (13:09):
And in the parking lot, I saw.
Speaker 3 (13:12):
What can matter? Why used to tell?
Speaker 2 (13:15):
Uh? A car park there?
Speaker 7 (13:17):
What about it?
Speaker 2 (13:18):
It's just like the car. It's always following me, exactly
the same car. I swirled.
Speaker 3 (13:23):
They let me drive, Joe, Hm, maybe you've got to
relax in those drinks. Maybe be better if I drove,
Give me the.
Speaker 7 (13:30):
Keys until come on, Yeah, it'll be better.
Speaker 2 (13:33):
You drive hur my keys.
Speaker 7 (13:40):
R very ruby, how healthy and h.
Speaker 2 (13:44):
R very ver great ru very. I'm sorry. I'm sorry
(14:07):
for for what I got you into and for being
kind of lowder.
Speaker 3 (14:12):
The way I have just put your head on my shoulder.
You don't think of anything.
Speaker 6 (14:17):
Oh graphic accident drew out the talkway. California State Highway
Patrol reports that a short while ago, a man was
found dead on Vernon Avenue outside your docto as. Yes,
he is unidentified, but he is a victim of a
hid and run driver. The Highway Patrol has asked if
this announcement be made so that any person or a
(14:39):
person who may have seen the accident will immediately for Bertha.
Speaker 2 (14:43):
They mean me. They maybe what am I gonna do?
Speaker 7 (14:45):
What?
Speaker 2 (14:46):
But you heard it though? For sure?
Speaker 3 (14:48):
What that's what you're gonna do? Sleep, Close your eyes
and nestle close and sleep. Sleep Patrol.
Speaker 2 (14:58):
Yeah, maybe so my help, queer God.
Speaker 1 (15:26):
You are listening to Kathy and Elliot Lewis in Morton
Fine and David Freakin's story Run Sheep Run Tonight's presentation
in radio's outstanding Theater of Thrills Suspense Tomorrow Night, CBS
(15:48):
Radio's twenty first Precinct thriller begins in the early morning
hours when a woman approaches a cop on his beat
and announces, I just shot my husband. It's another poignant
story of Captain Kennelly's twenty first precinct titled The Shotgun,
one that will touch your heartstrings. Hear it on most
of these same stations tomorrow night for another revealing insight
on the human element in police's work. And now we
(16:10):
bring back to our Hollywood downstage cafe and Elliott Lewis
and mister Lewis's production of Run Sheep, Run a Tail
Well calculated to.
Speaker 5 (16:19):
Keep you in a spring, I hear.
Speaker 3 (16:42):
I sleepy head, Hell you sleep, don't think about it, worry.
Just south of San Diego will be a national city
in little while.
Speaker 2 (16:54):
You know what I did. I don't want you to
think I chilled the man for my sake running away.
Look over there, the son's coming up. See it's the
start of my first day as a fugitive.
Speaker 3 (17:04):
It's honey, honey, of course, it's honey. What we've been
through together.
Speaker 4 (17:11):
Just a minute, everything seems different. It's a new day,
and my mind's refreshed.
Speaker 2 (17:16):
I know what you're talking perspective.
Speaker 3 (17:18):
Everything's terrible, the honey, everything was terrible last night.
Speaker 4 (17:21):
In the light of a new day, Listen, I've killed
a man and I'm running away from him.
Speaker 3 (17:24):
That's right.
Speaker 2 (17:25):
Joe Heywood, murderer, Joe Heywood murder.
Speaker 3 (17:29):
I don't think about it in Mexico. In Mexico, have
you ever dreamed of Mexico?
Speaker 2 (17:34):
Joe very often?
Speaker 3 (17:35):
In an hour? Mexico with me last night?
Speaker 2 (17:41):
I don't know what happens. We've seen that poor man
lying there. I guess it was shot. What made me do?
Speaker 7 (17:47):
Joe?
Speaker 3 (17:48):
Mexico with me?
Speaker 2 (17:50):
Joe? First? There was a girl out of the fox
me Joe.
Speaker 3 (17:55):
And I'm beside you now? And what are you shaking
your head for? Am I not pretty anymore?
Speaker 2 (18:01):
In the morning? Beautiful? I didn't work? Stop the car?
Why quick? Stop the car.
Speaker 7 (18:10):
Now?
Speaker 4 (18:10):
I'm going to make a telephone call that phone booths
in the filling station.
Speaker 3 (18:13):
Who are you going to call?
Speaker 2 (18:14):
Hazel? You know I'm going to call Hazel. She's my wife.
I just got to call her. I'm going to tell
her everything how I killed a man.
Speaker 6 (18:34):
Operators your number three.
Speaker 4 (18:37):
I want perminal two, one, four, seven, six and long
beach Operators.
Speaker 3 (18:42):
That will be for the first three minutes, Yes, ma'am.
Speaker 2 (18:51):
In a quarter, Thank you, Joe, Joe, where I I'm
coming in, Hazel.
Speaker 4 (19:05):
I'm gonna give myself up. I'm gonna face the music, Hazel.
The long story, Hazel, what's happened to me in the
strangeness of events leading up?
Speaker 2 (19:16):
Hazel? Listen to me playing?
Speaker 6 (19:18):
And who are those girls out here?
Speaker 2 (19:19):
Laughing?
Speaker 3 (19:20):
There's I'll bet you and whine and whiskey.
Speaker 2 (19:23):
Joe, you hear me, Joe, Hazel, Please.
Speaker 3 (19:26):
Don't come home. Don't ever come home now.
Speaker 4 (19:30):
Don't say that baby doll Hazel.
Speaker 2 (19:32):
Hazel.
Speaker 3 (19:34):
Oh well, look at me, Joe, and you come on
and look at me. That's that you certainly are a
(19:56):
changed person in the morning. You know that anybody ever told.
Speaker 2 (19:59):
You you know something? I don't understand you at all.
Speaker 3 (20:05):
I'm glad you a little mystery.
Speaker 2 (20:07):
And Roberta, my wife is really worried about me. Roberta,
we're going back. What We're going back and you'll.
Speaker 3 (20:15):
Test you know I'm not.
Speaker 2 (20:17):
It's the only way. Not me Jack Jack? What did
you call me?
Speaker 3 (20:25):
Jack? It's a phrase?
Speaker 2 (20:27):
You want to know what? You don't look pretty anymore?
Speaker 3 (20:31):
He wants to go back.
Speaker 2 (20:33):
What is this?
Speaker 3 (20:34):
He wants me to go back with him to testify.
Speaker 2 (20:36):
I know you. I know him, Roberta.
Speaker 4 (20:38):
He's the fellow who was talking at the bar when
I came back.
Speaker 7 (20:41):
I know you.
Speaker 2 (20:42):
What's going on here. What do you mean? What's going
on here? What does his chap mean when he says
what's going on here?
Speaker 3 (20:49):
Buddy, Bobby, he tells me that you didn't want to,
but he does.
Speaker 2 (20:54):
You please get out of my car.
Speaker 4 (20:56):
Okay, don't struggle with me, fella, because I'll be making
my goal the steering wheels.
Speaker 3 (21:01):
Okay, now, not come on out here.
Speaker 2 (21:04):
Oh, something's funny, very very funny. The whole thing, the
back road and Robert.
Speaker 4 (21:21):
Now, that was the first time in my whole life
I'd ever been knocked unconscious by another fella.
Speaker 2 (21:26):
I didn't see him hit me.
Speaker 4 (21:27):
Whether or not that would have made a difference, I
don't know. I've been called agile. I might have ducked
or something.
Speaker 2 (21:34):
And I don't remember anything. When I was out spinning wheels.
Speaker 4 (21:36):
Of color and voices and rockets bursting and sound.
Speaker 7 (21:40):
Nothing.
Speaker 2 (21:42):
I opened my eyes. I was flat on my back up.
I got up into the car behind the wheel. I
got into the car behind the wheel. ROBERTA was sitting
beside me.
Speaker 3 (21:54):
This is a gun Joe.
Speaker 7 (21:55):
That's a gun Joe.
Speaker 2 (21:57):
She'll tell you what a drive your driver there?
Speaker 3 (22:00):
Yeah, shoot you, I will Joe straight down the road.
Speaker 2 (22:07):
And I'll be following along in my bye.
Speaker 7 (22:19):
Hi.
Speaker 2 (22:22):
You were a liar from the word go. Weren't you
with a gun?
Speaker 3 (22:27):
Take your eyes off it?
Speaker 2 (22:28):
Watch the road with a gun?
Speaker 7 (22:29):
M M.
Speaker 2 (22:31):
Where are we going? Us?
Speaker 3 (22:33):
Route one on one?
Speaker 7 (22:34):
Joe?
Speaker 3 (22:34):
Just follow the highway.
Speaker 2 (22:36):
Look at you, pretty girl like you sitting there with
a pistol.
Speaker 3 (22:40):
Straight down the road to Mexico. I promised you Mexico, didn't.
Speaker 2 (22:44):
I You think I'm stupid, don't you?
Speaker 6 (22:48):
No, I don't.
Speaker 3 (22:50):
I'd rather what's gonna happen? Wouldn't happen to you?
Speaker 7 (22:52):
Joe?
Speaker 2 (22:52):
Still you shoot me?
Speaker 3 (22:54):
Yes?
Speaker 2 (22:54):
I would.
Speaker 4 (22:56):
I don't pity you, Roberta. I guess I should, but
I just don't. What's gonna happen?
Speaker 3 (23:03):
You killed him?
Speaker 7 (23:04):
Man?
Speaker 3 (23:04):
Remember I'm not so sure.
Speaker 2 (23:07):
What's the matter?
Speaker 3 (23:08):
Not so sure?
Speaker 2 (23:09):
He said?
Speaker 3 (23:10):
The light flash?
Speaker 2 (23:11):
What's gonna happen?
Speaker 3 (23:12):
Well, I'll say we're gonna drive straight through the tea
water You like te orners? Alright, Well, we're gonna drive
straight through. Then I think March is he.
Speaker 2 (23:24):
Gonna kill me?
Speaker 4 (23:25):
N I don't think he's gonna kill me. He's gonna
use me for a patsy.
Speaker 3 (23:31):
Patsy, what are you doing? With that boy.
Speaker 2 (23:33):
I read, I read twenty and you are so right.
Speaker 3 (23:39):
You're gonna be a patsy. Dump you in the car
below Mexico where the police can find you. By the
time they do, they'll have words of the guy running
away from a hit and run outside.
Speaker 2 (23:47):
Redundant potsy, that's the word. Joe, I didn't kill that
man at all? Yeah you did. I did, Yes, you did.
Speaker 3 (23:55):
If they had, Joe, is the border.
Speaker 2 (23:59):
Behave?
Speaker 3 (24:01):
Take your eye off the road for a second, look
at this gun. Now back on the road.
Speaker 2 (24:08):
Just behave.
Speaker 7 (24:09):
That's all.
Speaker 3 (24:10):
I got a story all fixed just in case the
border God, just behave.
Speaker 2 (24:22):
Good morning and welcome to Maico. We hope you enjoy
your stay. And where were you born?
Speaker 7 (24:27):
Me? If you please?
Speaker 2 (24:28):
Ohio, And you said you are Where were you born? Ah?
Speaker 4 (24:32):
Your father's cucaracha, your father's cucaracha.
Speaker 2 (24:36):
Jack.
Speaker 4 (24:36):
I did not understand these beliegion and signor I wish
only to hear which the state you were born?
Speaker 2 (24:40):
He so is kumprasita.
Speaker 4 (24:41):
I can deny you permission to make why it will
avail you nothing, Madam.
Speaker 2 (24:44):
This man has insulted me.
Speaker 4 (24:46):
I subjected him suggesting you want a suggestion Jack. The
guy not car driving a fuck ahead.
Speaker 3 (24:50):
God, my friend here is upset.
Speaker 2 (24:51):
The guy driving up.
Speaker 4 (24:52):
He's the parts of the international smuggling ring.
Speaker 3 (24:54):
Ring will turn back.
Speaker 2 (24:56):
Guard my guard.
Speaker 4 (24:57):
He's back in two hundred grand in a suitcase. That
fellow there on the Grace Dan suitcase full of money,
very big smuggler into Gratia Dana, one of points with
the gray sedan.
Speaker 2 (25:04):
The Fellows turning around.
Speaker 4 (25:06):
Yes, I see, Senor fell Senor, wait on.
Speaker 3 (25:29):
When you accept the chargers.
Speaker 2 (25:30):
He's in Mexico.
Speaker 3 (25:32):
Do you want to put him on?
Speaker 6 (25:34):
Go ahead?
Speaker 4 (25:34):
Her?
Speaker 2 (25:36):
Oh, Hazel, I've been told.
Speaker 6 (25:39):
You're in Mexico.
Speaker 2 (25:40):
Joe, Yes, Hazel, I am Please tell me. Why will
you listen?
Speaker 6 (25:45):
Of course I'll listen.
Speaker 2 (25:47):
I thought I had murdered.
Speaker 4 (25:48):
Somebody murdered, somebody hit and run. It's the same thing,
it is, But Robert and Mark really did it. Beat
up a friend for the money he had that he'd
won in Vegas, and I was kidnapped, Hazel.
Speaker 2 (25:57):
He tried to get away, but the border guards.
Speaker 4 (25:59):
Grabbed him and he found nearly ten thousand dollars in
his suitcase. Boy, was I surprised they got Roberta When she.
Speaker 2 (26:04):
Tried Hazel, Are you there? Who kidnapped you? Roberta and Mark?
But it's all right. I tricked him at the border.
Roberta had a gun on me. But Hazel, Hazel.
Speaker 1 (26:14):
Oh the spence in which Campie and Elliott Lewis were starting,
(26:42):
Run Sheep Run.
Speaker 8 (26:44):
What's your definition of the criminal type? Have you ever
looked at a man or woman decided inwardly, we hope
that person is the criminal type. If so, you'll be
fascinated by what befalls Casey, crime photographer Tomorrow Night when
he gets involved in a case he blithely labeled the
criminal type. Surprise follows surprise, Thrill follows thrill when CBS
Radio's crime photographer takes his latest case Tomorrow Night on
(27:08):
most of these same stations. Next week, the story of
a man no one believed even when he confessed to
a murder. Anthony Ellis will be starred in his own
adaptation of Elizabeth Bowen's telling that's next Week on Suspense.
Speaker 1 (27:33):
Suspense is produced and directed by Elliot Lewis, with music
composed by Lucian Morrowick and conducted by lud Bluskin. Run
Sheep Run was written for Suspriens by Morton Fine and
David Friedkin featured in the Vices cast for Irene Pedrow,
mary Landsling, Tony Barrett and Jack Prussian. And remember next
(27:57):
week Antony Ellis's adaptation of Eliza, a Bourn story telling.
Speaker 8 (28:07):
You can join the FBI in Peace and War Wednesday
on the CBS Radio network
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