November 15, 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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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
And now Tonight's presentation from Radio's Outstanding Theater of Prill's
Suspense Tonight the story of a man with no imagination
who found it necessary to cause the violent end of
a life. It was written by the winner of the
(00:26):
Edgar Allen Poe Award, E Jack Newman. The story is
called sequel to Murder.
Speaker 2 (00:39):
I read, I don't write. I don't have the imagination
they tell me. They've told me. But I'm writing this
down and it doesn't take much imagination, so I guess
I might do a fair job at that. Take a
day in my office for a starter. Hi, rank up.
Speaker 3 (00:55):
Your neck and no.
Speaker 2 (00:57):
Oh good, Yes, new writer.
Speaker 3 (01:00):
Interesting title.
Speaker 2 (01:01):
Death on My Hands by A Blain Kittridge. Good title,
new boy. Like to have you read it and see
what you think for our Red Barrier series. Okay, I'll
get at it as soon as I can, mister Walsh,
what did you think? I only read the first ten pages, Frank,
look fine and fine, But I'm going.
Speaker 3 (01:15):
To leave the decision up to you.
Speaker 2 (01:16):
If you think this Kittridge has got anything, we'll put
him in this month's listings. It's eleven thirty five lunch.
I'd better not, mister Welsh. Oh, okay, Frank, I dodn't
want to interfere with any business you've got to take
care of. Sorry, mister, it's okay, okay, Frank, I won't
press you. Maybe tomorrow, Yeah, fine, sir. It's just that
I have so much work here. We certainly can't go
(01:49):
on like this. I can't go on. You'd better work
something out. I will, I will not. There's no need
for all this.
Speaker 4 (01:56):
You said the same thing a year ago, Frank, A
whole year ago you said exactly the same thing, and
it's still the same as it was then. I still
have all those empty knights when I can't see you.
Speaker 2 (02:07):
I just told you I'll do something. That's why all this.
Speaker 4 (02:10):
I want you to understand how I feel, Frank, exactly
how I feel. Make no mistake about it.
Speaker 5 (02:17):
Either.
Speaker 4 (02:17):
You do something now today when you see her, something definite.
But that's the end.
Speaker 2 (02:24):
This way. It's awful. It's awful for me too. You know.
Speaker 4 (02:28):
How do people get into things now? I didn't want
to love you. I knew you were married.
Speaker 2 (02:35):
And such your fool. Yes, please don't worry.
Speaker 4 (02:39):
Don't worry, mister gold. I won't sit here and cry.
I wouldn't think of upsetting mister Gould while he ate
his lunch. Don't you worry a bit, mister Golf.
Speaker 2 (02:47):
I'm going to work it out, do you hear me?
Speaker 4 (02:52):
Yes? But you're thinking of some other things too. I
know what you're thinking of. How it will hit you
in the pocket book, like this cost a lot of money,
and you hate the thought of that. Well, if you
want me, and you say you do, you'll have to
make some sacrifices. You know that as well as I do.
Speaker 5 (03:09):
Oh sure, look.
Speaker 6 (03:10):
Away from me, look at the way to look anywhere.
Speaker 4 (03:12):
Well, I've made sacrifices already. I can't see my mother
on you cann tell her who I'm seeing.
Speaker 2 (03:17):
She always wants to know.
Speaker 4 (03:19):
I can't take you to meet my friends.
Speaker 2 (03:22):
I have to be satisfied with this.
Speaker 4 (03:25):
It's meeting you at your restaurant, seeing you at your office.
I don't have a life this way, Frank, you don't
even have the imagination enough to arrange your romantic setting.
Speaker 2 (03:37):
Stop it. Get your book out of here first, pas,
what Lilian just walking?
Speaker 5 (03:42):
Oh?
Speaker 2 (03:43):
And if these terms are satisfactory, please advise by a
wire or cable. You're truly thank god?
Speaker 7 (03:48):
Right?
Speaker 3 (03:49):
Oh?
Speaker 2 (03:50):
Lilian, Well, I take.
Speaker 8 (03:52):
A chance you'd be Yeah, thought maybe you'd.
Speaker 2 (03:54):
Buy me lunch, for sure? They're sure? I didn't know
you were coming in this early. Oh you remember missus
Lucas from our editor Oi department.
Speaker 3 (04:01):
Yes, hi, miss Lucas.
Speaker 4 (04:03):
Fine, Missus God, nice to see you again. I'd better
get this off from the mail right away, mister God.
Speaker 2 (04:09):
All right, Bessie, fine, better do that.
Speaker 4 (04:11):
Well, don't let me rush you off, miss Lucas, or
we're finished, Missus God. Sometimes lunch is the only place
I can pin him down.
Speaker 7 (04:18):
Are you that busy deer.
Speaker 2 (04:20):
Seemed to be? Uh, sit down, Liliane.
Speaker 8 (04:24):
Oh I don't forget your notebook, Miss Lucas.
Speaker 4 (04:26):
Oh yes, of course, mister God. I hope you won't
let that other matter slip your mind.
Speaker 3 (04:33):
Uh.
Speaker 4 (04:33):
It's imperative that you'll do something about it immediately this afternoon.
Speaker 2 (04:38):
Oh, yes, of course, Miss Lucas. Fine.
Speaker 9 (04:41):
Excuse me, Missus God.
Speaker 2 (04:42):
Yes, see you in the office.
Speaker 7 (04:44):
Yes, goodbye for now.
Speaker 2 (04:47):
Would you like a drink? Lillian? He's an interesting girl, Frank,
that's oh sure, yes, very bright. It's gonna be one
of our best editors someday.
Speaker 8 (04:54):
She looks like you'll go far, but said you don't
like the way she.
Speaker 2 (04:57):
Wears her hair. I'll take a drink, Philip.
Speaker 8 (05:00):
On the phone, you said it was something important.
Speaker 2 (05:02):
Yes, are you going to tell me?
Speaker 8 (05:05):
Yes, Lilian, I tell you what I'll do, Frank, I'll
make it easier for you. You're always very bad at this
sort of thing, and I'm always very good at that.
Speaker 2 (05:12):
What sort of thing? You don't even know what I
wanted to talk to you about.
Speaker 7 (05:15):
I can guess what you.
Speaker 8 (05:16):
Want to talk to me about, and you can stop
me if I'm wrong. I know all the symptoms, especially
on you.
Speaker 2 (05:22):
I know you like a book.
Speaker 3 (05:23):
You hate to get down the cases in your office.
Speaker 2 (05:25):
You're a real demon.
Speaker 8 (05:27):
Doesn't take any imagination to read what other people have
thought out.
Speaker 10 (05:30):
But this is hard for you.
Speaker 2 (05:32):
I'll say it right out, Lilian. I want a divorce.
Speaker 8 (05:35):
Well you get it out, didn't you.
Speaker 2 (05:37):
I want a divorce because we don't get along. We
haven't gotten along for five years. I want a divorce
because I think we've tried about everything that may work.
It won't, Lilian, what do you think? What do you
honestly think? Well?
Speaker 8 (05:52):
I think it divorce is a swell out ofa Fank
let's get one.
Speaker 5 (05:55):
Huh.
Speaker 8 (05:56):
Everything you've said is true. We're Katinko. Is no denying it.
We can't live together, can we?
Speaker 2 (06:03):
No? We can't. You surprised me? Do what? Well? This
isn't exactly the most pleasant thing for two people to
discuss or start to plan. For a matter of fact,
it's a tragedy and a sin. Both of us had
such high hopes when we started out. I think we
both honestly tried to do everything we can to make
it work. Now coming to this, we're admitting we failed.
Speaker 8 (06:26):
Well, that's one way to look at it, Frank, very
very humane. But we're only human beings, aren't we. And
we're two very nice people, aren't we. And it's too
bad that these things happen in life.
Speaker 2 (06:37):
Don't they? Yes, they do. I'm sorry you.
Speaker 8 (06:40):
Wanted to say something like that to me, didn't you, Yes,
good boy, Frank.
Speaker 2 (06:45):
So what do we do first? Well? I suppose we
get in touch with Dutch and have him advise us
on a legal procedure. No, I suppose we do way
easier than you thought it would be, isn't it. I
think you're being very understanding about the whole thing, Lilian.
But then there's really no need for bitterness, is there.
Speaker 8 (07:02):
I'm glad you feel that way.
Speaker 7 (07:03):
Frank.
Speaker 2 (07:05):
Here, what's this?
Speaker 8 (07:06):
Some few notes I made on how to be done.
I've been thinking about it too. I hope you won't
find the financial strain too grade, Willian.
Speaker 2 (07:15):
This is absurd.
Speaker 8 (07:16):
Twenty five hundred dollars a month, the house, both cars,
and at thirty percent of the stops they issue you annually.
I think it's wonderful. That's why I agree with you
about the divorce. This will make it easier for me
to admit my defeat.
Speaker 2 (07:29):
You want to wreck me completely, don't you, Willian?
Speaker 8 (07:32):
Oh, dear, not completely?
Speaker 5 (07:33):
Well.
Speaker 2 (07:33):
I can't stand still for this at all. Thank you.
Speaker 8 (07:37):
Didn't think you could have it for nothing, did you?
How do you have such a little amount of imagination?
Speaker 2 (07:42):
Who helped you work this up?
Speaker 8 (07:43):
Some shystis all by myself here, all by myself, just
the way you managed to wreck us.
Speaker 10 (07:49):
It's all by yourself.
Speaker 8 (07:50):
I don't want that drink anyhow. I have some shopping
to do, and I'm going to meet some people for
dinner later on. I suppose you're going to.
Speaker 7 (07:56):
Dutch and talk to them about this.
Speaker 8 (07:58):
To take that along, tell him. It's the only way out.
Speaker 2 (08:02):
In just that way, Lillian. I'll be reasonable, but there's
no other way. Bye bye, Dear.
Speaker 6 (08:25):
Frank. You didn't talk to we, did you?
Speaker 2 (08:27):
Yes? I did?
Speaker 6 (08:28):
But what came of it? Why did you avoid me
when you came back to the office. I've been trying
to get hold.
Speaker 2 (08:32):
Of you all day and half the time to my
ears and work best work, Yes, work, work, lots of it.
I still have to work, you know.
Speaker 6 (08:38):
We don't get angry. Let me just tell me what happened.
If all you have to do.
Speaker 2 (08:41):
I'm lying in bed right now. I'm reading a manuscript.
I have to make a decision on it tomorrow morning.
Let's talk then now best.
Speaker 5 (08:49):
I can't talk now.
Speaker 2 (08:51):
Lillian just walked in the next room.
Speaker 6 (08:52):
Yes or no, Frank, Yes or no? Say it? Say
it now. Yes we're going to be together. No, we
aren't going to be together.
Speaker 2 (08:57):
Yes, yes, she'll give you the divorce.
Speaker 4 (08:59):
Yes, yes, ye?
Speaker 8 (09:02):
Well Hi, are.
Speaker 2 (09:07):
You a little tight, dear?
Speaker 11 (09:09):
Yes?
Speaker 2 (09:09):
Why nothing. It's just that I have to read this
manuscript tonight. I'd rather not discuss anything about anything right now.
Speaker 8 (09:17):
Oh Death on my Hands by Blaine Kidders sncing title
Dear who's Blane Kitten?
Speaker 2 (09:24):
I don't know some new writer. We've never published anything
it is before?
Speaker 10 (09:28):
Are you going to publish this?
Speaker 2 (09:29):
I don't know. I haven't read it yet, Lillian.
Speaker 8 (09:31):
Oh, well, don't let me stop you nider. Good night, Frank. Yes,
I hate to disturb you. But did you talk to Dutch?
Speaker 2 (09:40):
No? Are you going to No?
Speaker 8 (09:43):
Then you don't want a divorce? What do you want?
Speaker 2 (09:46):
Frank? I want you to leave me alone right now?
Speaker 7 (09:49):
Okay, Bessy Lucas, isn't it? Oh you're so bad.
Speaker 8 (09:54):
Frank's so bad an actor and so she so little
imagination I could tell today when I walk in on
your little lunch. Nothing you say no, denial's no confirmation.
Thank you haven't made a decision yet.
Speaker 5 (10:11):
I have.
Speaker 2 (10:11):
What's that, Lilian?
Speaker 4 (10:12):
I'm going to divorce you.
Speaker 8 (10:13):
I'm going to get everything I told you about in
the way of terms, and on top.
Speaker 2 (10:16):
Of it, I'm going to name her.
Speaker 8 (10:17):
No pretty tawdry dear, You're a pretty tawdry person anyway.
I Frank, real company man who has to do his
little job regardless of what not.
Speaker 2 (10:42):
Death on my hands, my blame, kippage. Murder is the swiftest,
surest most untraceable crime, and the one that holds the
promise of absolute success above all others. It requires two participants,
the killer and the victim. Right, yeah, wants no matter.
(11:12):
What are you doing in my room thinking at four
in the morning about what a story I just read?
It's about a man who gets away with murder, Lilian.
There's no way for him to be caught, no way
at all, Lilian.
Speaker 3 (11:27):
You publish it, did, and I'll read it.
Speaker 2 (11:29):
The trick is he never planned to murder at all.
He killed his wife and he got away with it.
He half smothered her with a pillow, set the room
on fire, and she suffocated from the smoke.
Speaker 10 (11:43):
A cigarette over there.
Speaker 2 (11:44):
You want a secret as well?
Speaker 8 (11:46):
If you're gonna keep this up?
Speaker 7 (11:50):
Yeah?
Speaker 2 (11:51):
Thanks?
Speaker 8 (11:56):
Oh where are we?
Speaker 2 (11:58):
I'm a story, Lilian?
Speaker 8 (11:59):
I did what you do?
Speaker 7 (12:00):
You publish it, I'll read you know, I have to.
Speaker 2 (12:01):
Listen to it. I'm gonna turn it down, Fine, you
turn it down, but I'm going to use it in
a way on you. Lilian. What are you talking about?
I can't let you wreck me, Lilian.
Speaker 8 (12:12):
Oh, go on back to bed and stop being I.
Speaker 2 (12:14):
Have enough imagination to know what that would be like.
It had cost me everything I ever worked for.
Speaker 6 (12:19):
What are you doing?
Speaker 8 (12:20):
Put that match out? You're gonna set this house on fire.
Speaker 7 (12:24):
I can go get some water.
Speaker 3 (12:25):
The whole house will catch fire.
Speaker 2 (12:26):
No, no, not the house, just this room. You're dead.
They'll be able to save the rest of the house.
And I don't mind building this room over there, just
over your nose and mouth, just long enough to make
you nouch, Lilian, Just like the story, the smoke's really
(12:47):
going to kill you, not me.
Speaker 12 (12:48):
I'll be the first thing you breathe, breathe in when
I take the pillow away, It'll be your lungs ally
in for the corner. Do you want to sleep with
a cigarette in your hand? A bed on fire and
you're suffocated before I can help it?
Speaker 7 (13:03):
Help it right in front of my eyes.
Speaker 2 (13:12):
All right, Lillian, you've been grieve Now that's it. Grieve Lily.
(13:37):
Glad to see you back on the job. Frank, thank you, mister.
Did you get any rest? Well? I guess you didn't.
That roll have happened. We all feel pretty badly about
missus Goulf's death. Uns I noragic tragic thing. Those accidents
just happen and there's nothing to be done about him. Well,
(13:57):
I won't take up any more of your time saying,
oh word things, Frank, I know what you've been through
all of us do, but I have a suggestion. Yes,
pile in and work. Work will help a lot, Frank,
I intended to mister Waller, good boy, a long fine,
I'll see you about to right.
Speaker 1 (14:18):
Excuse me?
Speaker 2 (14:19):
Did I interrupt anything?
Speaker 5 (14:21):
No?
Speaker 9 (14:21):
No, no, Frank, Darling, Darling, I can't say I'm sorry she's gone,
but I am sorry about the way it happens. I'm
sorry I couldn't be with yours. I know you love
(14:43):
the one.
Speaker 2 (14:48):
All over now. It was all just as mister Waller said,
those things happen.
Speaker 9 (14:57):
Yes, well, do you want to talk about it?
Speaker 6 (15:02):
If we can do it another time?
Speaker 9 (15:05):
Anytime?
Speaker 2 (15:06):
That's right, anytime?
Speaker 9 (15:09):
Do I I'm cruel, I do. I'm sorry.
Speaker 2 (15:14):
I just know that I've wanted you for so long.
Speaker 9 (15:17):
No, I can have you say.
Speaker 5 (15:20):
Hello, that's right.
Speaker 10 (15:35):
Playing Kidge with gold. I've been trying to get you.
Speaker 7 (15:37):
For a week.
Speaker 2 (15:38):
I've been out of town. My wife.
Speaker 10 (15:40):
Yes, I read about it in the papers. My sympathy,
mister Golf, thank.
Speaker 2 (15:43):
You, mister Kittridge. I'm sorry, but I don't seem to
place you at the moment.
Speaker 10 (15:47):
Oh, we've never met. But just before you went away,
I sent you a story called Death on my Hat.
Speaker 2 (15:54):
Huh, then you're gone, Yes.
Speaker 10 (15:58):
You remember now you rejected that one, mister God. But
I've written another one.
Speaker 2 (16:03):
Well, fine, fine, Miss Kittridge. Send it in. I'll be
glad to read it.
Speaker 13 (16:06):
It's sort of a sequel to the other story, mister God.
In the first one, I told you how a man
got away with a murder. In this one, I tell
you how he gets caught. Mister Gone.
Speaker 2 (16:18):
Yes, I'll bring it in myself.
Speaker 7 (16:21):
Huh.
Speaker 1 (16:35):
You are listening to mister Whitfield Connor in e Jack
Newman's story sequel to Murder Tonight's presentation in radio's outstanding
Theater of Frills, Suspense.
Speaker 14 (16:58):
Or full Understanding of our changing Land to know more
about the opportunities all can enjoy as America continues to prosper.
Send for the free booklet titled The Future of America.
Write to Box seventeen seventy six Grand Central Station, New York,
seventeen and your copy will be sent to you by
early return mail. The address again is Box seventeen seventy
(17:20):
six Grand Central Station, New York City, seventeen. For confidence,
for security in your great future, send for this booklet today.
Speaker 1 (17:30):
And now we bring back to our Hollywood suftage mister
Whitfield Connor in Elliott Lewis's production of Sequel to Murder,
a tale well calculated to keep you in suspense. It
(17:52):
isn't hard to write all this now, First because the
details we're all there. And next because someone else really
did all the writing.
Speaker 2 (18:00):
I did the reading, but the reader and the writer
had the meet I'm blaming Kittridge. Uh.
Speaker 11 (18:08):
I got it right after I phone you, mister Galk,
but they said you were out to lunch.
Speaker 2 (18:12):
I've been waiting ever since. Sorry, miss Kittridge.
Speaker 11 (18:15):
I suppose you needed that long lunch. Are it fits in?
Mister Gonk, you had to think of something to say
to me, didn't you.
Speaker 2 (18:22):
I don't know why, particularly.
Speaker 11 (18:24):
Because I have a story for you, the sequel to
my first story.
Speaker 2 (18:28):
Oh well, where is it? I have it here in
my head. All I have to do is put it
down on paper. As the saying goes, well, I'm afraid
I can't read your mind. I'll help you. Uh.
Speaker 11 (18:39):
First I suppose I should tell you I usually write
my stories based on fact more or less.
Speaker 2 (18:44):
I take all seven.
Speaker 11 (18:45):
Newspapers here every day, for instance, read them from top
to bottom. There are a great many things in newspapers
that make valuable material for a writer.
Speaker 2 (18:52):
Mister Golf. Yes, that's what I do most of the.
Speaker 11 (18:55):
Time, mister Goff. But when I wrote that story about
the man who had smothered his wife to death with
a pillow and then set the room on fire so
she'd suffocate, I you do remember the.
Speaker 2 (19:06):
Story, don't you.
Speaker 11 (19:07):
I don't know, called death on my hand. You rejected it,
mister Goalk. You personally rejected it.
Speaker 2 (19:14):
Oh, just well, go on. Well that story was a little.
Speaker 11 (19:19):
Different, mister Galk. You might say I gave it a
little more.
Speaker 2 (19:22):
Work than the others.
Speaker 11 (19:24):
You see, I didn't base that story on anything I'd
reatten in newspaper, said one up.
Speaker 2 (19:31):
I worked it out pretty well, didn't I. I suppose
you did.
Speaker 11 (19:34):
Imagine how surprised I was after I'd written the story
to read in the papers about your wife, mister Gold
dying of suffocation.
Speaker 2 (19:41):
That's not well, I'm that pleased. Oh.
Speaker 11 (19:42):
I don't want to make it painful at all, mister Gould.
I'd just like to make sure you buy my new story.
Speaker 2 (19:48):
What what do you have in mind.
Speaker 11 (19:51):
A talk with the car Iner's office, mister Goalk. I'm
sure that if I explained to them the details of
my story and how you had this story, and of
course they know the details of missus Gold's death, they'd
reverse their decision. We both know they'd reverse their decision
about how she died, and they'd look into your life
pretty well.
Speaker 2 (20:07):
They'd probably find a good reason for you wanting to get.
Speaker 11 (20:09):
Rid of her.
Speaker 2 (20:10):
A sad story like that wouldn't listen to you.
Speaker 11 (20:12):
They'd listen to me, mister Gold, because I'm a pretty
good talker. In fact, I talk a lot better than
I write. Really, Flick, you're listening to me. Everyone listens
to me when I talk. See now, it really comes
down to what do you want out of life now.
I don't care about your personal troubles or how you
solve them, but I do care about mine. Mister Gold,
(20:33):
I need one hundred thousand dollars to make life interesting
for me. Again, you have to get me one hundred
thousand dollars if you want to live. I haven't got
that kind of money. No one has these days.
Speaker 2 (20:43):
I've seen your house and your cars.
Speaker 11 (20:46):
And I have some idea of the salary you make
here and the dividends you get on stock, and that's
my figure. You might have to liquidate a few things,
but then you'll be alive, and after all you'll be
better off. And miss is God, she's not alive because
you killed her.
Speaker 2 (21:05):
You'll have to go to somebody with their story. Kip you, joh.
I can't pay you that kind of money.
Speaker 11 (21:13):
Okay, I'll turn you in.
Speaker 2 (21:19):
Wait, uh, I'll see what I can do. It takes
time to raise that kind of money.
Speaker 11 (21:27):
Little down, pay me. It'll just say ten thousand. How
about midnight.
Speaker 5 (21:31):
At the forty fifth Street station?
Speaker 2 (21:33):
All right, don't don't, don't.
Speaker 11 (21:35):
Don't go to anybody, of course, not mister God, not
until I've given you a chance.
Speaker 7 (21:56):
By hi? H?
Speaker 6 (21:59):
What is it?
Speaker 4 (22:00):
Frank's been sitting there looking out the window almost ever
since you got here. You haven't touched your drink.
Speaker 2 (22:05):
Oh, I'm sorry.
Speaker 4 (22:06):
Is he something wrong with it?
Speaker 13 (22:07):
No?
Speaker 2 (22:07):
No, no, no, it's fine, Frank.
Speaker 4 (22:10):
What for heaven's sake, Frank, this is supposed to be
some sort of happy occasion.
Speaker 6 (22:14):
Are you tired or sick or something? What is it?
Speaker 2 (22:20):
I guess I'm just tired, Frank. Who's blaming Kittridge? Blaine Cattridge, Yes,
a writer.
Speaker 4 (22:27):
Why he came into the editorial department today, just meeting
some of the editors. I noticed he met you too,
He went to your office, didn't it?
Speaker 2 (22:34):
Yeah? I didn't like him.
Speaker 4 (22:36):
Frank is a friend of yours?
Speaker 2 (22:38):
No, no, just someone I know?
Speaker 5 (22:42):
What is it?
Speaker 6 (22:42):
What Frank tell me?
Speaker 2 (22:45):
Kittridge can ruin me, Bessie, He can ruin us? What Bessie?
The whole Well, he wrote a story that I rejected,
the story about a murder. The circumstances in the story,
the murder and all, well, they're pretty close to the
Circumstancesian's death, don't you see? Best? He has a good weapon,
and he told me he means to use.
Speaker 4 (23:04):
It today, Frank, Lillian's death was accident.
Speaker 2 (23:07):
This was accidental, best, But his story could make it
look deliberate. What do you mean, could make it look
as though I had something to do with it death?
Speaker 4 (23:15):
That's ridiculous, Frank. Oh, Frank, why do you pay any
attention to him at all? You were really upset?
Speaker 2 (23:19):
God, he wants one hundred thousand dollars.
Speaker 7 (23:22):
Why that's so absurd.
Speaker 4 (23:25):
What is it, Frank, what you're actually thinking of giving
it to him?
Speaker 2 (23:33):
Aren't you well?
Speaker 5 (23:34):
Best?
Speaker 2 (23:34):
The way he presented it, I hadn't got a chance
he could make the worst kind of trouble for him, Frank.
Speaker 4 (23:39):
Is it the way he presented it or the way
it happened, Frank? Lilian died accidentally, didn't she?
Speaker 5 (23:50):
Frank?
Speaker 2 (23:52):
I did it for us best.
Speaker 1 (23:55):
It was the only way she wanted to ruin us completely,
so that nothing would have meant anything.
Speaker 2 (24:00):
Beth. I'm going to look Chris, look at me. You'll
think of it differently in a while, and you'll know
it was all I could do. I didn't mean ever
to tell you, but remember it was for us.
Speaker 6 (24:12):
Don't touch me.
Speaker 3 (24:13):
Don't ever touch me again, Chris.
Speaker 11 (24:36):
Fine, Hello, right on time, mister Gaunt. Yeah, good time
of the day to meet for this kind of thing.
Nobody around.
Speaker 2 (24:46):
Yeah. Well, I didn't bring you the money, Gittridge. I'm
not going to give you any money.
Speaker 11 (24:51):
What is it.
Speaker 2 (24:52):
I don't need a book to tell me how to
handle this. You're crazy.
Speaker 11 (24:57):
If you try to use that thing here, you wouldn't
get ten feet without when you.
Speaker 2 (25:00):
Do a policeman. Let's go over there. I haven't got
much more to lose. Kittricks. All right. I learned a
lot about homicide from you, but you can never really
get away with a kidrids. Somewhere along the line you
get caught, not by policemen, by yourself. Someone else made
(25:21):
me realize that a man has to go on with me. Look,
mister Gold, you aren't going to solve anything here. I'll
kill you. I know how to do it, because it
has to be done. You will fall in front of
the subway kitchens. Oh, these men coming up, don't move
or try to shop with them. Just cut a more cast.
I mean that.
Speaker 3 (25:46):
This is the golf or yes, thet'll give us the gun,
mister golf.
Speaker 2 (25:52):
Police officers.
Speaker 3 (25:55):
Counter three, one, two here, Yeah, boy, am.
Speaker 11 (26:10):
I glad you two showed up. He was just telling
me how I was gonna kill me. What's your name, Kittrick?
Blame Kittrick? I called earlier. Sorry, mister God, but I figured.
Speaker 2 (26:21):
You try something like this. Lilian was right what I
should have known. I don't have much imagination. All right,
let's go. No reprieve. I didn't think there'd be one anyhow.
(26:45):
I don't care about that part of it. I do
care That best never came to the trial. But I
would have seen that. I would have known she'd take
it that way if I'd had any imagination. All right, father,
(27:09):
I'm ready.
Speaker 1 (27:31):
Suspense, in which Whitfield Connor was starred in sequel to Murder,
Next Week, the story of a man who lost his shoes.
And when you're suspected of murder and you've got to
run for your life and the temperature is in the nineties,
why then you're correct in saying it's too hot to live.
(27:53):
That's Next Week on Suspense. Suspense is produced and directed
by Elliot Lewis, with the Night's music composed by Rennie
(28:13):
Geraghan and conducted by Wilbur Hatch. Sequel to Murder was
written for Suspense by E. Jack Newman. Into Night story,
Whitfield Connor was heard as Golf, Charlott Lawrence as Best,
Betty lou Gerson as Lillian, Joe Kerns as Walsh, and
Jack Krushan as Kitbridge.
Speaker 2 (28:43):
This is the Network.
Speaker 14 (28:44):
In Tomorrow's the Night, when CBS Radio's crime photographer takes
on his latest murder case.
Speaker 2 (28:49):
Yes, it's Casey on the case and things usually click
from start to finish.
Speaker 14 (28:53):
When crime photographers in action on most of these stations
every Wednesday night, be sure you're in your favorite radio
side seat all night when casey crime photographer cuts loose
with his camera, his brains, and his instinct for adding
up clues to a killing Daytime is a Gaytime with
Arthur Godfrey Time on the CBS Radio network
And now Tonight's presentation from Radio's Outstanding Theater of Prill's
Suspense Tonight the story of a man with no imagination
who found it necessary to cause the violent end of
a life. It was written by the winner of the
(00:26):
Edgar Allen Poe Award, E Jack Newman. The story is
called sequel to Murder.
Speaker 2 (00:39):
I read, I don't write. I don't have the imagination
they tell me. They've told me. But I'm writing this
down and it doesn't take much imagination, so I guess
I might do a fair job at that. Take a
day in my office for a starter. Hi, rank up.
Speaker 3 (00:55):
Your neck and no.
Speaker 2 (00:57):
Oh good, Yes, new writer.
Speaker 3 (01:00):
Interesting title.
Speaker 2 (01:01):
Death on My Hands by A Blain Kittridge. Good title,
new boy. Like to have you read it and see
what you think for our Red Barrier series. Okay, I'll
get at it as soon as I can, mister Walsh,
what did you think? I only read the first ten pages, Frank,
look fine and fine, But I'm going.
Speaker 3 (01:15):
To leave the decision up to you.
Speaker 2 (01:16):
If you think this Kittridge has got anything, we'll put
him in this month's listings. It's eleven thirty five lunch.
I'd better not, mister Welsh. Oh, okay, Frank, I dodn't
want to interfere with any business you've got to take
care of. Sorry, mister, it's okay, okay, Frank, I won't
press you. Maybe tomorrow, Yeah, fine, sir. It's just that
I have so much work here. We certainly can't go
(01:49):
on like this. I can't go on. You'd better work
something out. I will, I will not. There's no need
for all this.
Speaker 4 (01:56):
You said the same thing a year ago, Frank, A
whole year ago you said exactly the same thing, and
it's still the same as it was then. I still
have all those empty knights when I can't see you.
Speaker 2 (02:07):
I just told you I'll do something. That's why all this.
Speaker 4 (02:10):
I want you to understand how I feel, Frank, exactly
how I feel. Make no mistake about it.
Speaker 5 (02:17):
Either.
Speaker 4 (02:17):
You do something now today when you see her, something definite.
But that's the end.
Speaker 2 (02:24):
This way. It's awful. It's awful for me too. You know.
Speaker 4 (02:28):
How do people get into things now? I didn't want
to love you. I knew you were married.
Speaker 2 (02:35):
And such your fool. Yes, please don't worry.
Speaker 4 (02:39):
Don't worry, mister gold. I won't sit here and cry.
I wouldn't think of upsetting mister Gould while he ate
his lunch. Don't you worry a bit, mister Golf.
Speaker 2 (02:47):
I'm going to work it out, do you hear me?
Speaker 4 (02:52):
Yes? But you're thinking of some other things too. I
know what you're thinking of. How it will hit you
in the pocket book, like this cost a lot of money,
and you hate the thought of that. Well, if you
want me, and you say you do, you'll have to
make some sacrifices. You know that as well as I do.
Speaker 5 (03:09):
Oh sure, look.
Speaker 6 (03:10):
Away from me, look at the way to look anywhere.
Speaker 4 (03:12):
Well, I've made sacrifices already. I can't see my mother
on you cann tell her who I'm seeing.
Speaker 2 (03:17):
She always wants to know.
Speaker 4 (03:19):
I can't take you to meet my friends.
Speaker 2 (03:22):
I have to be satisfied with this.
Speaker 4 (03:25):
It's meeting you at your restaurant, seeing you at your office.
I don't have a life this way, Frank, you don't
even have the imagination enough to arrange your romantic setting.
Speaker 2 (03:37):
Stop it. Get your book out of here first, pas,
what Lilian just walking?
Speaker 5 (03:42):
Oh?
Speaker 2 (03:43):
And if these terms are satisfactory, please advise by a
wire or cable. You're truly thank god?
Speaker 7 (03:48):
Right?
Speaker 3 (03:49):
Oh?
Speaker 2 (03:50):
Lilian, Well, I take.
Speaker 8 (03:52):
A chance you'd be Yeah, thought maybe you'd.
Speaker 2 (03:54):
Buy me lunch, for sure? They're sure? I didn't know
you were coming in this early. Oh you remember missus
Lucas from our editor Oi department.
Speaker 3 (04:01):
Yes, hi, miss Lucas.
Speaker 4 (04:03):
Fine, Missus God, nice to see you again. I'd better
get this off from the mail right away, mister God.
Speaker 2 (04:09):
All right, Bessie, fine, better do that.
Speaker 4 (04:11):
Well, don't let me rush you off, miss Lucas, or
we're finished, Missus God. Sometimes lunch is the only place
I can pin him down.
Speaker 7 (04:18):
Are you that busy deer.
Speaker 2 (04:20):
Seemed to be? Uh, sit down, Liliane.
Speaker 8 (04:24):
Oh I don't forget your notebook, Miss Lucas.
Speaker 4 (04:26):
Oh yes, of course, mister God. I hope you won't
let that other matter slip your mind.
Speaker 3 (04:33):
Uh.
Speaker 4 (04:33):
It's imperative that you'll do something about it immediately this afternoon.
Speaker 2 (04:38):
Oh, yes, of course, Miss Lucas. Fine.
Speaker 9 (04:41):
Excuse me, Missus God.
Speaker 2 (04:42):
Yes, see you in the office.
Speaker 7 (04:44):
Yes, goodbye for now.
Speaker 2 (04:47):
Would you like a drink? Lillian? He's an interesting girl, Frank,
that's oh sure, yes, very bright. It's gonna be one
of our best editors someday.
Speaker 8 (04:54):
She looks like you'll go far, but said you don't
like the way she.
Speaker 2 (04:57):
Wears her hair. I'll take a drink, Philip.
Speaker 8 (05:00):
On the phone, you said it was something important.
Speaker 2 (05:02):
Yes, are you going to tell me?
Speaker 8 (05:05):
Yes, Lilian, I tell you what I'll do, Frank, I'll
make it easier for you. You're always very bad at this
sort of thing, and I'm always very good at that.
Speaker 2 (05:12):
What sort of thing? You don't even know what I
wanted to talk to you about.
Speaker 7 (05:15):
I can guess what you.
Speaker 8 (05:16):
Want to talk to me about, and you can stop
me if I'm wrong. I know all the symptoms, especially
on you.
Speaker 2 (05:22):
I know you like a book.
Speaker 3 (05:23):
You hate to get down the cases in your office.
Speaker 2 (05:25):
You're a real demon.
Speaker 8 (05:27):
Doesn't take any imagination to read what other people have
thought out.
Speaker 10 (05:30):
But this is hard for you.
Speaker 2 (05:32):
I'll say it right out, Lilian. I want a divorce.
Speaker 8 (05:35):
Well you get it out, didn't you.
Speaker 2 (05:37):
I want a divorce because we don't get along. We
haven't gotten along for five years. I want a divorce
because I think we've tried about everything that may work.
It won't, Lilian, what do you think? What do you
honestly think? Well?
Speaker 8 (05:52):
I think it divorce is a swell out ofa Fank
let's get one.
Speaker 5 (05:55):
Huh.
Speaker 8 (05:56):
Everything you've said is true. We're Katinko. Is no denying it.
We can't live together, can we?
Speaker 2 (06:03):
No? We can't. You surprised me? Do what? Well? This
isn't exactly the most pleasant thing for two people to
discuss or start to plan. For a matter of fact,
it's a tragedy and a sin. Both of us had
such high hopes when we started out. I think we
both honestly tried to do everything we can to make
it work. Now coming to this, we're admitting we failed.
Speaker 8 (06:26):
Well, that's one way to look at it, Frank, very
very humane. But we're only human beings, aren't we. And
we're two very nice people, aren't we. And it's too
bad that these things happen in life.
Speaker 2 (06:37):
Don't they? Yes, they do. I'm sorry you.
Speaker 8 (06:40):
Wanted to say something like that to me, didn't you, Yes,
good boy, Frank.
Speaker 2 (06:45):
So what do we do first? Well? I suppose we
get in touch with Dutch and have him advise us
on a legal procedure. No, I suppose we do way
easier than you thought it would be, isn't it. I
think you're being very understanding about the whole thing, Lilian.
But then there's really no need for bitterness, is there.
Speaker 8 (07:02):
I'm glad you feel that way.
Speaker 7 (07:03):
Frank.
Speaker 2 (07:05):
Here, what's this?
Speaker 8 (07:06):
Some few notes I made on how to be done.
I've been thinking about it too. I hope you won't
find the financial strain too grade, Willian.
Speaker 2 (07:15):
This is absurd.
Speaker 8 (07:16):
Twenty five hundred dollars a month, the house, both cars,
and at thirty percent of the stops they issue you annually.
I think it's wonderful. That's why I agree with you
about the divorce. This will make it easier for me
to admit my defeat.
Speaker 2 (07:29):
You want to wreck me completely, don't you, Willian?
Speaker 8 (07:32):
Oh, dear, not completely?
Speaker 5 (07:33):
Well.
Speaker 2 (07:33):
I can't stand still for this at all. Thank you.
Speaker 8 (07:37):
Didn't think you could have it for nothing, did you?
How do you have such a little amount of imagination?
Speaker 2 (07:42):
Who helped you work this up?
Speaker 8 (07:43):
Some shystis all by myself here, all by myself, just
the way you managed to wreck us.
Speaker 10 (07:49):
It's all by yourself.
Speaker 8 (07:50):
I don't want that drink anyhow. I have some shopping
to do, and I'm going to meet some people for
dinner later on. I suppose you're going to.
Speaker 7 (07:56):
Dutch and talk to them about this.
Speaker 8 (07:58):
To take that along, tell him. It's the only way out.
Speaker 2 (08:02):
In just that way, Lillian. I'll be reasonable, but there's
no other way. Bye bye, Dear.
Speaker 6 (08:25):
Frank. You didn't talk to we, did you?
Speaker 2 (08:27):
Yes? I did?
Speaker 6 (08:28):
But what came of it? Why did you avoid me
when you came back to the office. I've been trying
to get hold.
Speaker 2 (08:32):
Of you all day and half the time to my
ears and work best work, Yes, work, work, lots of it.
I still have to work, you know.
Speaker 6 (08:38):
We don't get angry. Let me just tell me what happened.
If all you have to do.
Speaker 2 (08:41):
I'm lying in bed right now. I'm reading a manuscript.
I have to make a decision on it tomorrow morning.
Let's talk then now best.
Speaker 5 (08:49):
I can't talk now.
Speaker 2 (08:51):
Lillian just walked in the next room.
Speaker 6 (08:52):
Yes or no, Frank, Yes or no? Say it? Say
it now. Yes we're going to be together. No, we
aren't going to be together.
Speaker 2 (08:57):
Yes, yes, she'll give you the divorce.
Speaker 4 (08:59):
Yes, yes, ye?
Speaker 8 (09:02):
Well Hi, are.
Speaker 2 (09:07):
You a little tight, dear?
Speaker 11 (09:09):
Yes?
Speaker 2 (09:09):
Why nothing. It's just that I have to read this
manuscript tonight. I'd rather not discuss anything about anything right now.
Speaker 8 (09:17):
Oh Death on my Hands by Blaine Kidders sncing title
Dear who's Blane Kitten?
Speaker 2 (09:24):
I don't know some new writer. We've never published anything
it is before?
Speaker 10 (09:28):
Are you going to publish this?
Speaker 2 (09:29):
I don't know. I haven't read it yet, Lillian.
Speaker 8 (09:31):
Oh, well, don't let me stop you nider. Good night, Frank. Yes,
I hate to disturb you. But did you talk to Dutch?
Speaker 2 (09:40):
No? Are you going to No?
Speaker 8 (09:43):
Then you don't want a divorce? What do you want?
Speaker 2 (09:46):
Frank? I want you to leave me alone right now?
Speaker 7 (09:49):
Okay, Bessy Lucas, isn't it? Oh you're so bad.
Speaker 8 (09:54):
Frank's so bad an actor and so she so little
imagination I could tell today when I walk in on
your little lunch. Nothing you say no, denial's no confirmation.
Thank you haven't made a decision yet.
Speaker 5 (10:11):
I have.
Speaker 2 (10:11):
What's that, Lilian?
Speaker 4 (10:12):
I'm going to divorce you.
Speaker 8 (10:13):
I'm going to get everything I told you about in
the way of terms, and on top.
Speaker 2 (10:16):
Of it, I'm going to name her.
Speaker 8 (10:17):
No pretty tawdry dear, You're a pretty tawdry person anyway.
I Frank, real company man who has to do his
little job regardless of what not.
Speaker 2 (10:42):
Death on my hands, my blame, kippage. Murder is the swiftest,
surest most untraceable crime, and the one that holds the
promise of absolute success above all others. It requires two participants,
the killer and the victim. Right, yeah, wants no matter.
(11:12):
What are you doing in my room thinking at four
in the morning about what a story I just read?
It's about a man who gets away with murder, Lilian.
There's no way for him to be caught, no way
at all, Lilian.
Speaker 3 (11:27):
You publish it, did, and I'll read it.
Speaker 2 (11:29):
The trick is he never planned to murder at all.
He killed his wife and he got away with it.
He half smothered her with a pillow, set the room
on fire, and she suffocated from the smoke.
Speaker 10 (11:43):
A cigarette over there.
Speaker 2 (11:44):
You want a secret as well?
Speaker 8 (11:46):
If you're gonna keep this up?
Speaker 7 (11:50):
Yeah?
Speaker 2 (11:51):
Thanks?
Speaker 8 (11:56):
Oh where are we?
Speaker 2 (11:58):
I'm a story, Lilian?
Speaker 8 (11:59):
I did what you do?
Speaker 7 (12:00):
You publish it, I'll read you know, I have to.
Speaker 2 (12:01):
Listen to it. I'm gonna turn it down, Fine, you
turn it down, but I'm going to use it in
a way on you. Lilian. What are you talking about?
I can't let you wreck me, Lilian.
Speaker 8 (12:12):
Oh, go on back to bed and stop being I.
Speaker 2 (12:14):
Have enough imagination to know what that would be like.
It had cost me everything I ever worked for.
Speaker 6 (12:19):
What are you doing?
Speaker 8 (12:20):
Put that match out? You're gonna set this house on fire.
Speaker 7 (12:24):
I can go get some water.
Speaker 3 (12:25):
The whole house will catch fire.
Speaker 2 (12:26):
No, no, not the house, just this room. You're dead.
They'll be able to save the rest of the house.
And I don't mind building this room over there, just
over your nose and mouth, just long enough to make
you nouch, Lilian, Just like the story, the smoke's really
(12:47):
going to kill you, not me.
Speaker 12 (12:48):
I'll be the first thing you breathe, breathe in when
I take the pillow away, It'll be your lungs ally
in for the corner. Do you want to sleep with
a cigarette in your hand? A bed on fire and
you're suffocated before I can help it?
Speaker 7 (13:03):
Help it right in front of my eyes.
Speaker 2 (13:12):
All right, Lillian, you've been grieve Now that's it. Grieve Lily.
(13:37):
Glad to see you back on the job. Frank, thank you, mister.
Did you get any rest? Well? I guess you didn't.
That roll have happened. We all feel pretty badly about
missus Goulf's death. Uns I noragic tragic thing. Those accidents
just happen and there's nothing to be done about him. Well,
(13:57):
I won't take up any more of your time saying,
oh word things, Frank, I know what you've been through
all of us do, but I have a suggestion. Yes,
pile in and work. Work will help a lot, Frank,
I intended to mister Waller, good boy, a long fine,
I'll see you about to right.
Speaker 1 (14:18):
Excuse me?
Speaker 2 (14:19):
Did I interrupt anything?
Speaker 5 (14:21):
No?
Speaker 9 (14:21):
No, no, Frank, Darling, Darling, I can't say I'm sorry she's gone,
but I am sorry about the way it happens. I'm
sorry I couldn't be with yours. I know you love
(14:43):
the one.
Speaker 2 (14:48):
All over now. It was all just as mister Waller said,
those things happen.
Speaker 9 (14:57):
Yes, well, do you want to talk about it?
Speaker 6 (15:02):
If we can do it another time?
Speaker 9 (15:05):
Anytime?
Speaker 2 (15:06):
That's right, anytime?
Speaker 9 (15:09):
Do I I'm cruel, I do. I'm sorry.
Speaker 2 (15:14):
I just know that I've wanted you for so long.
Speaker 9 (15:17):
No, I can have you say.
Speaker 5 (15:20):
Hello, that's right.
Speaker 10 (15:35):
Playing Kidge with gold. I've been trying to get you.
Speaker 7 (15:37):
For a week.
Speaker 2 (15:38):
I've been out of town. My wife.
Speaker 10 (15:40):
Yes, I read about it in the papers. My sympathy,
mister Golf, thank.
Speaker 2 (15:43):
You, mister Kittridge. I'm sorry, but I don't seem to
place you at the moment.
Speaker 10 (15:47):
Oh, we've never met. But just before you went away,
I sent you a story called Death on my Hat.
Speaker 2 (15:54):
Huh, then you're gone, Yes.
Speaker 10 (15:58):
You remember now you rejected that one, mister God. But
I've written another one.
Speaker 2 (16:03):
Well, fine, fine, Miss Kittridge. Send it in. I'll be
glad to read it.
Speaker 13 (16:06):
It's sort of a sequel to the other story, mister God.
In the first one, I told you how a man
got away with a murder. In this one, I tell
you how he gets caught. Mister Gone.
Speaker 2 (16:18):
Yes, I'll bring it in myself.
Speaker 7 (16:21):
Huh.
Speaker 1 (16:35):
You are listening to mister Whitfield Connor in e Jack
Newman's story sequel to Murder Tonight's presentation in radio's outstanding
Theater of Frills, Suspense.
Speaker 14 (16:58):
Or full Understanding of our changing Land to know more
about the opportunities all can enjoy as America continues to prosper.
Send for the free booklet titled The Future of America.
Write to Box seventeen seventy six Grand Central Station, New York,
seventeen and your copy will be sent to you by
early return mail. The address again is Box seventeen seventy
(17:20):
six Grand Central Station, New York City, seventeen. For confidence,
for security in your great future, send for this booklet today.
Speaker 1 (17:30):
And now we bring back to our Hollywood suftage mister
Whitfield Connor in Elliott Lewis's production of Sequel to Murder,
a tale well calculated to keep you in suspense. It
(17:52):
isn't hard to write all this now, First because the
details we're all there. And next because someone else really
did all the writing.
Speaker 2 (18:00):
I did the reading, but the reader and the writer
had the meet I'm blaming Kittridge. Uh.
Speaker 11 (18:08):
I got it right after I phone you, mister Galk,
but they said you were out to lunch.
Speaker 2 (18:12):
I've been waiting ever since. Sorry, miss Kittridge.
Speaker 11 (18:15):
I suppose you needed that long lunch. Are it fits in?
Mister Gonk, you had to think of something to say
to me, didn't you.
Speaker 2 (18:22):
I don't know why, particularly.
Speaker 11 (18:24):
Because I have a story for you, the sequel to
my first story.
Speaker 2 (18:28):
Oh well, where is it? I have it here in
my head. All I have to do is put it
down on paper. As the saying goes, well, I'm afraid
I can't read your mind. I'll help you. Uh.
Speaker 11 (18:39):
First I suppose I should tell you I usually write
my stories based on fact more or less.
Speaker 2 (18:44):
I take all seven.
Speaker 11 (18:45):
Newspapers here every day, for instance, read them from top
to bottom. There are a great many things in newspapers
that make valuable material for a writer.
Speaker 2 (18:52):
Mister Golf. Yes, that's what I do most of the.
Speaker 11 (18:55):
Time, mister Goff. But when I wrote that story about
the man who had smothered his wife to death with
a pillow and then set the room on fire so
she'd suffocate, I you do remember the.
Speaker 2 (19:06):
Story, don't you.
Speaker 11 (19:07):
I don't know, called death on my hand. You rejected it,
mister Goalk. You personally rejected it.
Speaker 2 (19:14):
Oh, just well, go on. Well that story was a little.
Speaker 11 (19:19):
Different, mister Galk. You might say I gave it a
little more.
Speaker 2 (19:22):
Work than the others.
Speaker 11 (19:24):
You see, I didn't base that story on anything I'd
reatten in newspaper, said one up.
Speaker 2 (19:31):
I worked it out pretty well, didn't I. I suppose
you did.
Speaker 11 (19:34):
Imagine how surprised I was after I'd written the story
to read in the papers about your wife, mister Gold
dying of suffocation.
Speaker 2 (19:41):
That's not well, I'm that pleased. Oh.
Speaker 11 (19:42):
I don't want to make it painful at all, mister Gould.
I'd just like to make sure you buy my new story.
Speaker 2 (19:48):
What what do you have in mind.
Speaker 11 (19:51):
A talk with the car Iner's office, mister Goalk. I'm
sure that if I explained to them the details of
my story and how you had this story, and of
course they know the details of missus Gold's death, they'd
reverse their decision. We both know they'd reverse their decision
about how she died, and they'd look into your life
pretty well.
Speaker 2 (20:07):
They'd probably find a good reason for you wanting to get.
Speaker 11 (20:09):
Rid of her.
Speaker 2 (20:10):
A sad story like that wouldn't listen to you.
Speaker 11 (20:12):
They'd listen to me, mister Gold, because I'm a pretty
good talker. In fact, I talk a lot better than
I write. Really, Flick, you're listening to me. Everyone listens
to me when I talk. See now, it really comes
down to what do you want out of life now.
I don't care about your personal troubles or how you
solve them, but I do care about mine. Mister Gold,
(20:33):
I need one hundred thousand dollars to make life interesting
for me. Again, you have to get me one hundred
thousand dollars if you want to live. I haven't got
that kind of money. No one has these days.
Speaker 2 (20:43):
I've seen your house and your cars.
Speaker 11 (20:46):
And I have some idea of the salary you make
here and the dividends you get on stock, and that's
my figure. You might have to liquidate a few things,
but then you'll be alive, and after all you'll be
better off. And miss is God, she's not alive because
you killed her.
Speaker 2 (21:05):
You'll have to go to somebody with their story. Kip you, joh.
I can't pay you that kind of money.
Speaker 11 (21:13):
Okay, I'll turn you in.
Speaker 2 (21:19):
Wait, uh, I'll see what I can do. It takes
time to raise that kind of money.
Speaker 11 (21:27):
Little down, pay me. It'll just say ten thousand. How
about midnight.
Speaker 5 (21:31):
At the forty fifth Street station?
Speaker 2 (21:33):
All right, don't don't, don't.
Speaker 11 (21:35):
Don't go to anybody, of course, not mister God, not
until I've given you a chance.
Speaker 7 (21:56):
By hi? H?
Speaker 6 (21:59):
What is it?
Speaker 4 (22:00):
Frank's been sitting there looking out the window almost ever
since you got here. You haven't touched your drink.
Speaker 2 (22:05):
Oh, I'm sorry.
Speaker 4 (22:06):
Is he something wrong with it?
Speaker 13 (22:07):
No?
Speaker 2 (22:07):
No, no, no, it's fine, Frank.
Speaker 4 (22:10):
What for heaven's sake, Frank, this is supposed to be
some sort of happy occasion.
Speaker 6 (22:14):
Are you tired or sick or something? What is it?
Speaker 2 (22:20):
I guess I'm just tired, Frank. Who's blaming Kittridge? Blaine Cattridge, Yes,
a writer.
Speaker 4 (22:27):
Why he came into the editorial department today, just meeting
some of the editors. I noticed he met you too,
He went to your office, didn't it?
Speaker 2 (22:34):
Yeah? I didn't like him.
Speaker 4 (22:36):
Frank is a friend of yours?
Speaker 2 (22:38):
No, no, just someone I know?
Speaker 5 (22:42):
What is it?
Speaker 6 (22:42):
What Frank tell me?
Speaker 2 (22:45):
Kittridge can ruin me, Bessie, He can ruin us? What Bessie?
The whole Well, he wrote a story that I rejected,
the story about a murder. The circumstances in the story,
the murder and all, well, they're pretty close to the
Circumstancesian's death, don't you see? Best? He has a good weapon,
and he told me he means to use.
Speaker 4 (23:04):
It today, Frank, Lillian's death was accident.
Speaker 2 (23:07):
This was accidental, best, But his story could make it
look deliberate. What do you mean, could make it look
as though I had something to do with it death?
Speaker 4 (23:15):
That's ridiculous, Frank. Oh, Frank, why do you pay any
attention to him at all? You were really upset?
Speaker 2 (23:19):
God, he wants one hundred thousand dollars.
Speaker 7 (23:22):
Why that's so absurd.
Speaker 4 (23:25):
What is it, Frank, what you're actually thinking of giving
it to him?
Speaker 2 (23:33):
Aren't you well?
Speaker 5 (23:34):
Best?
Speaker 2 (23:34):
The way he presented it, I hadn't got a chance
he could make the worst kind of trouble for him, Frank.
Speaker 4 (23:39):
Is it the way he presented it or the way
it happened, Frank? Lilian died accidentally, didn't she?
Speaker 5 (23:50):
Frank?
Speaker 2 (23:52):
I did it for us best.
Speaker 1 (23:55):
It was the only way she wanted to ruin us completely,
so that nothing would have meant anything.
Speaker 2 (24:00):
Beth. I'm going to look Chris, look at me. You'll
think of it differently in a while, and you'll know
it was all I could do. I didn't mean ever
to tell you, but remember it was for us.
Speaker 6 (24:12):
Don't touch me.
Speaker 3 (24:13):
Don't ever touch me again, Chris.
Speaker 11 (24:36):
Fine, Hello, right on time, mister Gaunt. Yeah, good time
of the day to meet for this kind of thing.
Nobody around.
Speaker 2 (24:46):
Yeah. Well, I didn't bring you the money, Gittridge. I'm
not going to give you any money.
Speaker 11 (24:51):
What is it.
Speaker 2 (24:52):
I don't need a book to tell me how to
handle this. You're crazy.
Speaker 11 (24:57):
If you try to use that thing here, you wouldn't
get ten feet without when you.
Speaker 2 (25:00):
Do a policeman. Let's go over there. I haven't got
much more to lose. Kittricks. All right. I learned a
lot about homicide from you, but you can never really
get away with a kidrids. Somewhere along the line you
get caught, not by policemen, by yourself. Someone else made
(25:21):
me realize that a man has to go on with me. Look,
mister Gold, you aren't going to solve anything here. I'll
kill you. I know how to do it, because it
has to be done. You will fall in front of
the subway kitchens. Oh, these men coming up, don't move
or try to shop with them. Just cut a more cast.
I mean that.
Speaker 3 (25:46):
This is the golf or yes, thet'll give us the gun,
mister golf.
Speaker 2 (25:52):
Police officers.
Speaker 3 (25:55):
Counter three, one, two here, Yeah, boy, am.
Speaker 11 (26:10):
I glad you two showed up. He was just telling
me how I was gonna kill me. What's your name, Kittrick?
Blame Kittrick? I called earlier. Sorry, mister God, but I figured.
Speaker 2 (26:21):
You try something like this. Lilian was right what I
should have known. I don't have much imagination. All right,
let's go. No reprieve. I didn't think there'd be one anyhow.
(26:45):
I don't care about that part of it. I do
care That best never came to the trial. But I
would have seen that. I would have known she'd take
it that way if I'd had any imagination. All right, father,
(27:09):
I'm ready.
Speaker 1 (27:31):
Suspense, in which Whitfield Connor was starred in sequel to Murder,
Next Week, the story of a man who lost his shoes.
And when you're suspected of murder and you've got to
run for your life and the temperature is in the nineties,
why then you're correct in saying it's too hot to live.
(27:53):
That's Next Week on Suspense. Suspense is produced and directed
by Elliot Lewis, with the Night's music composed by Rennie
(28:13):
Geraghan and conducted by Wilbur Hatch. Sequel to Murder was
written for Suspense by E. Jack Newman. Into Night story,
Whitfield Connor was heard as Golf, Charlott Lawrence as Best,
Betty lou Gerson as Lillian, Joe Kerns as Walsh, and
Jack Krushan as Kitbridge.
Speaker 2 (28:43):
This is the Network.
Speaker 14 (28:44):
In Tomorrow's the Night, when CBS Radio's crime photographer takes
on his latest murder case.
Speaker 2 (28:49):
Yes, it's Casey on the case and things usually click
from start to finish.
Speaker 14 (28:53):
When crime photographers in action on most of these stations
every Wednesday night, be sure you're in your favorite radio
side seat all night when casey crime photographer cuts loose
with his camera, his brains, and his instinct for adding
up clues to a killing Daytime is a Gaytime with
Arthur Godfrey Time on the CBS Radio network
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