September 20, 2025 • 28 mins
Suspense was one of the most popular and successful old time radio series during it's run of over 900 episodes, spanning 1940-1962. Guest stars included Orson Welles, Frank Sinatra, Lucille Ball, Agnes Moorehead, Marlene Dietrich, Humphrey Bogart. and many more. The plots were mostly engaging crime dramas, science fiction and some horror - usually with a twist at the conclusion.
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 (00:04):
Autolite, and it's ninety eight thousand dealers. Bring you, Miss
Agnes Moorehead. In Tonight's presentation of Suspense, Tonight Autolite presents
a story in the classic tradition of suspense, a new
version of Charles Dickens terrifying short story The Signal man
(00:28):
Our Star, the first lady of Suspense, Miss Agnes Moorehead.
Why it's Oscar, the super smooth and scintillating Sedan.
Speaker 2 (00:44):
Super smooth is right. I'm equipped with an autolid electrical system.
Speaker 1 (00:49):
Ah, there's none better Oscar, And it's because your autolid
electrical system is designed to operate as a team with
all units and component parts related by auto Light engineering
design and manufactur shuring skill to give you the smoothest
performance money can buy.
Speaker 2 (01:04):
I know how important the electrical system is, Harlow.
Speaker 1 (01:07):
Sure you do, ask her, And you know too how
important it is to have only auto Light original service
parts used when replacements are needed, because only these parts
are designed by Autolight engineers who design complete electrical systems
used as original equipment on many leading makes of our
finest cars, trucks and tractors. So friends always insist on
(01:28):
Autolite original service parts for your Autolite equipped car. It
pays in performance. Remember, from bumper to tail light, You're
always right with Autolite. And now Autolite presents transcribed the
signal man, starring Miss Agnes moorehead, hoping once again to
(01:48):
keep you in suspense.
Speaker 3 (02:29):
It smashed by like a wounded monster, screaming in pain,
and disappeared into the dark tunnel. In those brief seconds,
I had relived the emotions of my childhood. I still
trembled with a child's terror and fascination that had surged
through me the many times I stood here twenty years before.
Nothing had changed, the steep, dripping, wet walls of jagged
(02:52):
stone that led down to the tracks, the gloomy mouth
of the tunnel, the small signal man's shack huddled against
the side of the cutting.
Speaker 4 (03:01):
Even the job was held by the same man they
told me in the village.
Speaker 3 (03:06):
He stood there, in the glow of an angry sunset,
whirling a signal flag around a short pole. I called
to him, Hello, Hello. Instead of looking up at me,
he turned tensely to stare toward a red signal light
that glowed at the mouth of the tunnel.
Speaker 2 (03:27):
Hello, Hello.
Speaker 5 (03:30):
There.
Speaker 3 (03:33):
He finally turned slowly, it seemed to me even fearfully,
and looked up.
Speaker 4 (03:38):
He stared at me, unanswering.
Speaker 3 (03:41):
I was afraid the suddenness of my call had unnerved him.
I tried to compensate by being overly casual.
Speaker 4 (03:49):
Hello, I would like to speak to you. Is that
a path I can use.
Speaker 3 (03:55):
To come down? He stared silent a while longer than
finally pointed his flag to a spot in the cutting embankment.
It was a zigzag path of small footholds cut through
the clammy stone. The track seemed a mile below, but
I was determined to get down.
Speaker 4 (04:16):
Midway.
Speaker 3 (04:17):
I sensed a vague vibration of earth and air, like
a sound that could be felt but not heard. I
tried to fight down a fear that suddenly gripped me.
The air was filled with a violent pulsation. It seemed
to have a force that could draw me down. I
threw my hands up to my eyes, as though to
shut out some terrible sight.
Speaker 4 (04:36):
I flattened myself against the jagged rock and clutched hard. Ah.
Speaker 3 (04:55):
Then I was angry with myself, ashamed of this uncontrolled,
childish reaction. I could see the signal man, still staring
at me, I climbed down the rest of the way quickly, carelessly,
and I walked toward him with a casual smile.
Speaker 4 (05:08):
He watched me expectantly.
Speaker 3 (05:11):
Hullo, I, Amy, says I er. I used to live
in the village. I was anxious to speak to you.
I am sorry I startled you when I called down.
Speaker 5 (05:24):
Why did you use those words?
Speaker 4 (05:27):
Those words I hardly remember.
Speaker 3 (05:30):
I I think I shouted hello, below there, or something
to that effect.
Speaker 5 (05:35):
Not to that effect, miss, those were the very words.
I know them.
Speaker 6 (05:40):
Well, admit those were the word all right, I admit.
Speaker 5 (05:43):
Why did you use them?
Speaker 3 (05:45):
You were below I wanted to attract your attention, so
I called hullo below there.
Speaker 4 (05:50):
It seems logical, doesn't it.
Speaker 5 (05:52):
I, Miss, If you had no other reason, what other reason.
Speaker 4 (05:55):
Could I possibly have?
Speaker 6 (05:57):
I thought you would tell me I'm sorry.
Speaker 4 (06:01):
Maybe I shouldn't have come down. I think I frightened you.
Speaker 5 (06:04):
Why would you think that, miss?
Speaker 4 (06:06):
Well? You stare at me as though you had a
dread of me.
Speaker 6 (06:10):
I Miss, I was doubtful whether I had seen you before.
Speaker 4 (06:16):
Well, if you have it.
Speaker 3 (06:17):
It was when I was eight years old, standing on
that bridge over the tunnel up there. I used to
love watching the trains. Then my family moved to the city.
This is my first visit back in twenty years. You
don't believe me, I'm not certainly, But where could you
have seen me?
Speaker 5 (06:35):
Don't do you know?
Speaker 4 (06:37):
Since I've been away for twenty years now?
Speaker 5 (06:39):
There by the red signal light at the mouth of
the tunnel.
Speaker 3 (06:43):
Oh, that's why you turned and stared there when I
first called.
Speaker 4 (06:47):
I, Miss, What would I be doing up at the
signal light?
Speaker 5 (06:51):
Hi?
Speaker 6 (06:51):
I don't know, I wish I he it is a mistake, Miss,
I haven't been well.
Speaker 5 (06:58):
What is it you wish to speak to me about?
Speaker 4 (07:00):
Well, I'm a writer. I wanted to.
Speaker 1 (07:02):
Interview you me Why me?
Speaker 5 (07:05):
Miss?
Speaker 4 (07:05):
Well? My magazine does a weekly biographical piece on interesting
people and unusual occupations. It's called close Up.
Speaker 5 (07:12):
I Miss, I've read you have what you seem surprised? Oh?
Speaker 4 (07:16):
Pleased?
Speaker 6 (07:17):
Perhaps that one so unsophisticated as I.
Speaker 4 (07:20):
I really didn't mean it that way.
Speaker 6 (07:23):
There's a bit of a fire in my shack that'd
be more comfortable for you there.
Speaker 4 (07:27):
Yes, thank you.
Speaker 5 (07:30):
II.
Speaker 4 (07:31):
This is a lonely post. Visitors must be rare.
Speaker 6 (07:34):
I miss. The brand superintendent makes an annual inspection. That's
all except.
Speaker 3 (07:43):
Yes, come come in please, Oh, how snug and comfortable.
Speaker 6 (07:50):
Most of my waking life is spent here. I've tried
to make it pleasant, and you've succeeded.
Speaker 4 (07:56):
You were speaking of visitors, just as we can.
Speaker 6 (07:59):
Yeah, I'll put chair are of the fireplace. One chills
out there.
Speaker 4 (08:05):
I say, you have a fine collection of books.
Speaker 5 (08:08):
They've given me much companionship in the long night.
Speaker 3 (08:11):
Shitty waity companions, givens, decline and fall goods, anatomy of
the melancholy Darwin.
Speaker 5 (08:18):
Do they surprise you again? Miss?
Speaker 4 (08:20):
May I be frank I'll have to be if I'm
to succeed with the article. My editor is only interested,
you know, in the odd the unusual.
Speaker 6 (08:29):
And the level of my reading seems above the level
of my station.
Speaker 4 (08:34):
Not many people in any station these days.
Speaker 5 (08:36):
Come, misters. You called for frankness.
Speaker 4 (08:40):
Thank you, sir.
Speaker 3 (08:42):
Why would a man with a mind capable of absorbing
these subjects stay on a desolate job like this?
Speaker 5 (08:47):
Goodness? And I take no offense.
Speaker 6 (08:51):
You see, I had one young been very interested in
the natural philosophies. Oh, I set my course, I studied,
i'd planned the future. Then I ran wild, misused, my
opportunities went down.
Speaker 5 (09:06):
I've never risen again. But I've no complaint. I've made
my bed. It's too late to make another.
Speaker 4 (09:12):
Maybe you gave up too soon.
Speaker 6 (09:14):
No, miss no, there are forces beyond us that shape us.
One must know when not to resist. I might have
blooded myself a while longer, but I knew I took
this position thirty four years ago.
Speaker 4 (09:29):
And you never regretted. No er, not until won't you
please tell me?
Speaker 6 (09:36):
You first tell me what brought you here? But I
have you said nothing of what made you think of
this place specifically?
Speaker 5 (09:44):
There are many places and people.
Speaker 3 (09:46):
Well, I told you I used to come here as
a child. The trains frightened and fascinated me. I always
remembered it vividly through the years. I promised myself that
one day I would come back and do a story
on it.
Speaker 4 (09:58):
Good subjects aren't easy.
Speaker 5 (09:59):
To Why did you choose just now to come?
Speaker 3 (10:03):
All these ideas germinate in the writer's mind for a while,
and then an.
Speaker 5 (10:06):
Impulse and you were drawn here.
Speaker 4 (10:12):
You say that as though mystic forces were involved.
Speaker 3 (10:15):
It was much simpler. I assure you. I've been working hard.
I decided that a few days in the country would
do me good. I planned to use them profitably by
doing a story on you.
Speaker 6 (10:25):
You might have come to that decision last month, last year.
Speaker 3 (10:29):
Well, that's true, but I can't see why you attacked
such special significance to the fact that I.
Speaker 5 (10:36):
Why do they frighten your soul? Now?
Speaker 4 (10:57):
Wouldn't you think I might outgrow that? Silly cha?
Speaker 3 (11:02):
Well, if I was drawn here, as you say, I
guess it was to see whether I had The modern
psychiatrist would say it was a desire to relive a
childhood experience.
Speaker 5 (11:11):
I miss. There are many answers.
Speaker 4 (11:15):
Why are you staring at me? So? Oh?
Speaker 5 (11:17):
Oh? What I staring at you? Please? Please?
Speaker 3 (11:21):
You promised something is preying on your mind? Can't you
tell me?
Speaker 6 (11:25):
It's very difficult to impart, miss, very difficult to speak of.
Speaker 5 (11:31):
If you ever make another trip, I will try to tell.
Speaker 3 (11:34):
You yes, yes, of course, and I will have to
make several trips before the story takes shape.
Speaker 4 (11:42):
When may I come again tomorrow?
Speaker 5 (11:44):
I miss?
Speaker 4 (11:44):
If you wish, I'll come.
Speaker 5 (11:46):
At eleven, you won't have difficulty getting up.
Speaker 4 (11:51):
No, No, it was only that first trip down.
Speaker 6 (11:54):
I'll show my white light till you reach the top.
Thank you, I'll say good night now, miss, good night.
Speaker 4 (12:00):
Sir, I wish you a pleasant one.
Speaker 5 (12:02):
I regret.
Speaker 4 (12:03):
Oh, yes, I understand, I.
Speaker 5 (12:05):
Miss, I think you do. May I ask, then, when
you get to the top, don't call out to me,
I beg you don't call out.
Speaker 4 (12:15):
I won't.
Speaker 5 (12:16):
And when you come tomorrow night, please don't call out.
Speaker 4 (12:19):
Of course, not good night?
Speaker 5 (12:21):
And may I ask one part in question? Certainly, when
you came down.
Speaker 6 (12:27):
The path earlier to night midway, you suddenly threw your
hands up to your eyes like this, as though to
shut out some dreadful sight.
Speaker 3 (12:37):
Why right with that uncontrollable, childish reaction, I felt as
though the train would draw me down.
Speaker 4 (12:44):
I covered my eyes like a child not.
Speaker 5 (12:46):
To see it.
Speaker 6 (12:46):
You had no feeling that the action was conveyed to
you for some reason.
Speaker 4 (12:52):
No, why should it see otherwise?
Speaker 6 (12:56):
Because there has been someone at the red light mouth
of the tunnel each night for a week now, holding
its hands up to its eyes like that, I thought
to shut out some terrible sight.
Speaker 5 (13:08):
And you have actually seen it every night.
Speaker 4 (13:11):
Was it there tonight when you went to.
Speaker 5 (13:13):
The door, Yes, I saw it quite clearly. Who was it?
Speaker 1 (13:19):
You? Auto light is bringing you Miss Agnes moorehead with
(13:46):
Joseph Kerns in the Signal Man Tonight's presentation in Radio's
outstanding Theater of Thrills. Suspense, Hey, h Oscar, sound your horn,
(14:09):
play your radio, I'll start your engine.
Speaker 2 (14:17):
Hey, what's all that for, Hallow?
Speaker 1 (14:19):
While all those operations depend on the sure smooth performance
of your auto light electrical system, Oscar, and so do
the lights, heater and electric windshield wiper.
Speaker 2 (14:28):
They all depend on my auto light electrical system, Hollow.
Speaker 1 (14:31):
They sure do, Oscar. And what's more, your auto light
electrical system works every second your engine runs. That's why
auto light electrical systems, designed to give the smoothest performance
money can buy, are used as original equipment on many
leading makes of our finest cars, trucks and tractors.
Speaker 2 (14:48):
They're the best.
Speaker 1 (14:49):
Hurrow right to our Oscar and friends. Treat the electrical
system of your car to a periodic checkup at your
car dealers or authorized auto light service station. To quickly
locate him, look in the classified section of your phone
book or call Western Union by number and ask for
operator twenty five. And remember, from bumper to tail light,
(15:10):
you're always right with auto light. And now auto Light
brings back to our Hollywood soundstage, Miss Agnes moorehead in
Elliot Lewis's production of Charles Dickens. The Signal Man, a
tale well calculated to keep you in suspense.
Speaker 3 (15:39):
I returned the next night as the distant clocks were
striking eleven. The Signal Man waited for me at the
bottom of the cutting, with his white light shining. We
walked silently to his shack, entered it, and sat down
by the fire. I didn't wish to press him, so
I said nothing. He stared at the burning embers for
a moment.
Speaker 4 (15:57):
Then he turned to me.
Speaker 6 (15:58):
I going to tell you, miss as best I can,
for what troubles me.
Speaker 4 (16:03):
I'm glad I mistook.
Speaker 6 (16:06):
You for someone else last night. That troubles me, the
mistake of the someone else.
Speaker 4 (16:13):
Who is it? Then?
Speaker 5 (16:15):
I don't know what does it do? This time?
Speaker 6 (16:19):
It stands with its left arm across its face. The
right arm is waved violently this way, as though to say,
for God's sake, clear the way, clear the way.
Speaker 4 (16:29):
You've heard those words.
Speaker 6 (16:30):
Not certain, not about these specific words, but I I've
heard it called before.
Speaker 5 (16:36):
When one moonlight night, about a year ago, I.
Speaker 6 (16:39):
Was sitting here when I heard a voice cry, hello
below there.
Speaker 3 (16:44):
Oh, that's why you were so startled when I use
the same.
Speaker 4 (16:47):
Words I miss.
Speaker 6 (16:49):
I ran to the door and looked out and saw
this someone else standing up there by the red light
near the tunnel, waving its arm as I just showed you.
The voice was hoarse, was shouting, and it hello, below there,
look out, look out. I caught up my lamp and
ran toward the figure, calling what's wrong?
Speaker 5 (17:05):
What's happened? Where? And when I got to the light
just gone.
Speaker 4 (17:12):
Did you see where.
Speaker 6 (17:13):
The tunnel was the only place it could go without
passing me. I ran into the tunnel for five hundred
yards and searched around with my light. Then I ran
back here and telegraphed both ways. An alarm has been
given as anything wrong, and the answer came back both ways.
Speaker 5 (17:30):
All well, yes, of course.
Speaker 3 (17:34):
Now I'm going to take advantage of last night's permission
to be frank. You've been here more than thirty years,
haven't you. It isn't the most cheerful place in the world,
with that moaning wind through the tunnel and the wild
harp it makes of the telegraph wires. It's understandable that
you could have the illusion that you heard a call,
and anyone staring at the dark long enough as you
(17:55):
did from the dog, and imagine seeing something you've let
it prey on your mind, so it seems real.
Speaker 5 (18:15):
I was not finished, miss Oh, I'm sorry.
Speaker 6 (18:19):
Within six hours after it first appeared, the mainline flyer
crashed and derailed at the far end of the tunnel.
Within ten hours, the dead and the wounded were being
brought through the tunnel over the spot where the figure stood.
Speaker 4 (18:32):
It was coincidence, a tragic, remarkable coincidence. But there is more, Oh, Oh,
please forgive me.
Speaker 6 (18:39):
Six or seven months past, I had recovered from the
surprise and shark. One one morning, just as daylight was breaking,
I looked toward the red light and saw it again.
Speaker 4 (18:50):
Did it cry out?
Speaker 5 (18:51):
No? It was silent.
Speaker 4 (18:53):
It didn't wave its arm.
Speaker 6 (18:55):
No, miss Now it leaned against the post with both
hands covering the eyes like this, as though it brought
out some terrible sight.
Speaker 3 (19:03):
And that's why you asked me why I had put
my hands to my eyes, I mish.
Speaker 4 (19:07):
As I came down.
Speaker 6 (19:08):
The path, you called out the words it used the
first time you covered your eyes as.
Speaker 5 (19:13):
It did the next time.
Speaker 4 (19:15):
Go on.
Speaker 5 (19:16):
Please.
Speaker 6 (19:17):
That very day, as the train came out of the tunnel,
I noticed a confusion of hands and heads at one
of the coached platforms, and something waved. I saw it
in time to flag down the engineer. He applied his brake,
but the train drifted past here about a hundred yards.
As I ran up to it, I heard terrible screams
and cries. A beautiful young woman had fallen between the cars.
Speaker 4 (19:39):
Oh, she was.
Speaker 5 (19:40):
Brought in here. She died on this very spot between us.
Speaker 4 (19:45):
Oh, it's horrible.
Speaker 5 (19:48):
But I still don't wan final word, miss, and you
will judge how my mind is troubled.
Speaker 6 (19:55):
It came back a week ago. Ever since it has
been here at the night. It covers its eyes, It
waves its arm. It shouts, for God's sake, clear the way,
clear away. I have no rest of peace for it.
It calls to me many minutes together in an agonized manner.
Below there, look out, look out. It stands waving at me.
(20:18):
It sounds the telegraph ticker.
Speaker 4 (20:20):
Did it sound the ticker last night? While I was here?
Speaker 5 (20:22):
Twice?
Speaker 3 (20:23):
Oh, I assure you it did not sound. It was
your imagination.
Speaker 6 (20:26):
I have never made a mistake as to that Miss,
I don't wonder that you failed.
Speaker 1 (20:31):
To hear it.
Speaker 5 (20:32):
But I heard it.
Speaker 4 (20:33):
Do you hear it now?
Speaker 5 (20:37):
I What does it saying? It isn't clear. It only warns.
Speaker 6 (20:45):
It doesn't say against what If I only knew what
it meant? What is the danger? Where is the danger?
There is danger overhanging somewhere on the line, some terrible
calamity will happen.
Speaker 4 (20:57):
Now you must that reason.
Speaker 5 (20:58):
If I telegraphed.
Speaker 6 (21:00):
Danger on either side of me, or on both, I
can give no reason for it. I would get into
trouble and do no good. They would think I was mad.
This is the way it would work. Message danger, take care?
Answer what danger where? Message don't know, But for God's
sake take care.
Speaker 5 (21:16):
They would displace me. What else could they do.
Speaker 3 (21:22):
I can help you, but you must face realistically what
I have to say.
Speaker 5 (21:26):
Now.
Speaker 4 (21:26):
Will you try?
Speaker 5 (21:28):
Yes? Yes, I'll try. Miss.
Speaker 3 (21:30):
These accidents have shaken you deeply. You feel guilt about them,
even though there was nothing you could do. You've let
it prey on your mind until you imagine someone try
to warn me on herd that someone even the senses,
can deceive when the mind is under stress, Men dying
of thirst on a desert, imagine lakes and hearing running streams.
Speaker 5 (21:49):
The bodies of the dead were real enough.
Speaker 3 (21:51):
I'm speaking of what you imagined after the accidents. If
you let me, I'll prove to you, step by step
that the Specter existed only in your fantasies.
Speaker 5 (21:58):
How can you prove that in the face of what I've.
Speaker 3 (22:01):
Told me by appealing to the intelligent, reasoning portion of
your mind? Listen, you were positive when you first saw
me that I was the specter you saw up the light, Now,
weren't you?
Speaker 5 (22:11):
You used the same words.
Speaker 4 (22:13):
Well, I listen carefully.
Speaker 3 (22:14):
I appeal to the intelligent, well read, reasonable man. Three
words hello below there I was five hundred yards away
at the top of the embankment, and you were here below,
with darkness falling, and three words.
Speaker 4 (22:27):
Made you positive you had seen me before. Can't you
see you? We're trying to fit something to what you
already believed.
Speaker 5 (22:33):
But then you put your hands to your eyes. Lo
their proof.
Speaker 3 (22:37):
You've allowed yourself to believe some disaster is about to
befall When I covered my eyes because of a childish fear,
you fitted that to what you already believed.
Speaker 5 (22:45):
The telegraph ticker was'ton.
Speaker 4 (22:47):
You do not hear me out.
Speaker 3 (22:49):
Would you at any other time, or would anyone at
any time believe that a telegraph ticker could sound in
a room this small and be heard by one person
or not another.
Speaker 5 (22:56):
I told you now the most important proof.
Speaker 3 (22:59):
You said that when you went to the door last night,
it was there by the red danger light. It will
you come to the door with me now and tell
me if it is still air? Do you see it?
Speaker 5 (23:16):
No? No, miss, it is not there, agreed?
Speaker 3 (23:22):
And now I'm going to prove that it never was there.
I studied the light from the top of the hill
before I came down to night. The post is at
least seven feet high. The light is shielded with a hood.
Even if a person stood directly under it or in
front of it, they would be in complete.
Speaker 4 (23:38):
Shadow in darkness.
Speaker 3 (23:40):
You couldn't see that person from this door, and you
couldn't see that person if you walked to within a
foot of her or him or it. I'm going to
walk up the incline to the light and prove that
to you now. I walked up the inclining tracks toward
the red light at the mouth of the tunnel. The chill,
dank wind had an edge like a cold When I
(24:01):
got to the light post, I stood directly under it.
No portion of the red glow reached me.
Speaker 4 (24:07):
I was lost completely in the dark.
Speaker 3 (24:10):
I saw the signal man silhouetted in the yellow light
of the doorway.
Speaker 4 (24:14):
Hello, can you see me?
Speaker 3 (24:18):
Hello below there? Can you see me?
Speaker 1 (24:22):
Oh?
Speaker 4 (24:23):
Good?
Speaker 5 (24:25):
Now stop walking toward me.
Speaker 4 (24:27):
And tell me when you can see me.
Speaker 3 (24:31):
He stepped between the rails of the northbound track on
a line with the red signal light, and walked toward me.
Speaker 4 (24:40):
Then the icy hand of my childhood dread with me.
Speaker 3 (24:44):
There was a vague vibration of the earth and air
far behind him, coming up the grade fast, I could
begin to see the glow of the locomotive's light.
Speaker 1 (24:53):
Look out, look for gout, say through the way, hear
the way?
Speaker 4 (25:00):
He walked, as though in a spell. He didn't hear me,
or wouldn't hear me. I threw my left arm up
to my eyes and waved my right arm frantically.
Speaker 3 (25:08):
You know there the don't the dot tray away?
Speaker 4 (25:11):
Would God? They tread away?
Speaker 3 (25:16):
Ah?
Speaker 5 (25:18):
Wow?
Speaker 3 (25:45):
Long after it was over, they found me still standing there,
both of my hands up to my eyes to shut.
Speaker 7 (25:53):
Out the Terrible Sight.
Speaker 1 (26:25):
Suspense presented by Autolite to night Star Miss Agnus Moorhead.
This is Harlow Wilcox again speaking for Autolite, World's largest
independent manufacturer of automotive electrical equipment. Autolight is proud to
serve the greatest names in the industry. That's why during
these early months of nineteen fifty three, the Autolite Family
(26:47):
joins again in saluting the leading manufacturers who install auto
Light products as original equipment. Just two weeks from tonight,
as a climax to this year's Autolite Family Salute program,
we will present the citing story of the first and
only Round the World Auto Race. Our star will be
Van Johnson, and the program will be broadcast direct from
(27:08):
the Grand ballroom of New York's Waldorf Astoria Hotel, where
the Great Eastern Parade of Stars Auto Show will be
in progress. That's Monday, April sixth for the auto race
that stirred the world, And of course, be sure to
join us next week for another story of suspense. Next
(27:35):
week an American legend as we recreate the cruel murder
of Laura Foster by the bitter Tom Dooley. Our star
mister Joseph Cotton. That's next Week on Suspense. Suspense is
(27:56):
produced and directed by Elliot Lewis, with music composed by
Lucian Morrel and conducted by Lud Gluskin. Portions of the
program were transcribed. The Signalman was adapted for Suspense by
Irving Reese from the short story by Charles Dickens. In
Tonight's story, Joseph Kerns played the Signalman. Agnes Moorehead has
been on the road in Don Juan in Hell and
(28:18):
can currently be seen in Metro Goldwyn Mayer's picture The
Story of Three Loves and Remember next Week, Mister Joseph
Cotton in Tom Dooley. This is the CBS Radio Network.
Autolite, and it's ninety eight thousand dealers. Bring you, Miss
Agnes Moorehead. In Tonight's presentation of Suspense, Tonight Autolite presents
a story in the classic tradition of suspense, a new
version of Charles Dickens terrifying short story The Signal man
(00:28):
Our Star, the first lady of Suspense, Miss Agnes Moorehead.
Why it's Oscar, the super smooth and scintillating Sedan.
Speaker 2 (00:44):
Super smooth is right. I'm equipped with an autolid electrical system.
Speaker 1 (00:49):
Ah, there's none better Oscar, And it's because your autolid
electrical system is designed to operate as a team with
all units and component parts related by auto Light engineering
design and manufactur shuring skill to give you the smoothest
performance money can buy.
Speaker 2 (01:04):
I know how important the electrical system is, Harlow.
Speaker 1 (01:07):
Sure you do, ask her, And you know too how
important it is to have only auto Light original service
parts used when replacements are needed, because only these parts
are designed by Autolight engineers who design complete electrical systems
used as original equipment on many leading makes of our
finest cars, trucks and tractors. So friends always insist on
(01:28):
Autolite original service parts for your Autolite equipped car. It
pays in performance. Remember, from bumper to tail light, You're
always right with Autolite. And now Autolite presents transcribed the
signal man, starring Miss Agnes moorehead, hoping once again to
(01:48):
keep you in suspense.
Speaker 3 (02:29):
It smashed by like a wounded monster, screaming in pain,
and disappeared into the dark tunnel. In those brief seconds,
I had relived the emotions of my childhood. I still
trembled with a child's terror and fascination that had surged
through me the many times I stood here twenty years before.
Nothing had changed, the steep, dripping, wet walls of jagged
(02:52):
stone that led down to the tracks, the gloomy mouth
of the tunnel, the small signal man's shack huddled against
the side of the cutting.
Speaker 4 (03:01):
Even the job was held by the same man they
told me in the village.
Speaker 3 (03:06):
He stood there, in the glow of an angry sunset,
whirling a signal flag around a short pole. I called
to him, Hello, Hello. Instead of looking up at me,
he turned tensely to stare toward a red signal light
that glowed at the mouth of the tunnel.
Speaker 2 (03:27):
Hello, Hello.
Speaker 5 (03:30):
There.
Speaker 3 (03:33):
He finally turned slowly, it seemed to me even fearfully,
and looked up.
Speaker 4 (03:38):
He stared at me, unanswering.
Speaker 3 (03:41):
I was afraid the suddenness of my call had unnerved him.
I tried to compensate by being overly casual.
Speaker 4 (03:49):
Hello, I would like to speak to you. Is that
a path I can use.
Speaker 3 (03:55):
To come down? He stared silent a while longer than
finally pointed his flag to a spot in the cutting embankment.
It was a zigzag path of small footholds cut through
the clammy stone. The track seemed a mile below, but
I was determined to get down.
Speaker 4 (04:16):
Midway.
Speaker 3 (04:17):
I sensed a vague vibration of earth and air, like
a sound that could be felt but not heard. I
tried to fight down a fear that suddenly gripped me.
The air was filled with a violent pulsation. It seemed
to have a force that could draw me down. I
threw my hands up to my eyes, as though to
shut out some terrible sight.
Speaker 4 (04:36):
I flattened myself against the jagged rock and clutched hard. Ah.
Speaker 3 (04:55):
Then I was angry with myself, ashamed of this uncontrolled,
childish reaction. I could see the signal man, still staring
at me, I climbed down the rest of the way quickly, carelessly,
and I walked toward him with a casual smile.
Speaker 4 (05:08):
He watched me expectantly.
Speaker 3 (05:11):
Hullo, I, Amy, says I er. I used to live
in the village. I was anxious to speak to you.
I am sorry I startled you when I called down.
Speaker 5 (05:24):
Why did you use those words?
Speaker 4 (05:27):
Those words I hardly remember.
Speaker 3 (05:30):
I I think I shouted hello, below there, or something
to that effect.
Speaker 5 (05:35):
Not to that effect, miss, those were the very words.
I know them.
Speaker 6 (05:40):
Well, admit those were the word all right, I admit.
Speaker 5 (05:43):
Why did you use them?
Speaker 3 (05:45):
You were below I wanted to attract your attention, so
I called hullo below there.
Speaker 4 (05:50):
It seems logical, doesn't it.
Speaker 5 (05:52):
I, Miss, If you had no other reason, what other reason.
Speaker 4 (05:55):
Could I possibly have?
Speaker 6 (05:57):
I thought you would tell me I'm sorry.
Speaker 4 (06:01):
Maybe I shouldn't have come down. I think I frightened you.
Speaker 5 (06:04):
Why would you think that, miss?
Speaker 4 (06:06):
Well? You stare at me as though you had a
dread of me.
Speaker 6 (06:10):
I Miss, I was doubtful whether I had seen you before.
Speaker 4 (06:16):
Well, if you have it.
Speaker 3 (06:17):
It was when I was eight years old, standing on
that bridge over the tunnel up there. I used to
love watching the trains. Then my family moved to the city.
This is my first visit back in twenty years. You
don't believe me, I'm not certainly, But where could you
have seen me?
Speaker 5 (06:35):
Don't do you know?
Speaker 4 (06:37):
Since I've been away for twenty years now?
Speaker 5 (06:39):
There by the red signal light at the mouth of
the tunnel.
Speaker 3 (06:43):
Oh, that's why you turned and stared there when I
first called.
Speaker 4 (06:47):
I, Miss, What would I be doing up at the
signal light?
Speaker 5 (06:51):
Hi?
Speaker 6 (06:51):
I don't know, I wish I he it is a mistake, Miss,
I haven't been well.
Speaker 5 (06:58):
What is it you wish to speak to me about?
Speaker 4 (07:00):
Well, I'm a writer. I wanted to.
Speaker 1 (07:02):
Interview you me Why me?
Speaker 5 (07:05):
Miss?
Speaker 4 (07:05):
Well? My magazine does a weekly biographical piece on interesting
people and unusual occupations. It's called close Up.
Speaker 5 (07:12):
I Miss, I've read you have what you seem surprised? Oh?
Speaker 4 (07:16):
Pleased?
Speaker 6 (07:17):
Perhaps that one so unsophisticated as I.
Speaker 4 (07:20):
I really didn't mean it that way.
Speaker 6 (07:23):
There's a bit of a fire in my shack that'd
be more comfortable for you there.
Speaker 4 (07:27):
Yes, thank you.
Speaker 5 (07:30):
II.
Speaker 4 (07:31):
This is a lonely post. Visitors must be rare.
Speaker 6 (07:34):
I miss. The brand superintendent makes an annual inspection. That's
all except.
Speaker 3 (07:43):
Yes, come come in please, Oh, how snug and comfortable.
Speaker 6 (07:50):
Most of my waking life is spent here. I've tried
to make it pleasant, and you've succeeded.
Speaker 4 (07:56):
You were speaking of visitors, just as we can.
Speaker 6 (07:59):
Yeah, I'll put chair are of the fireplace. One chills
out there.
Speaker 4 (08:05):
I say, you have a fine collection of books.
Speaker 5 (08:08):
They've given me much companionship in the long night.
Speaker 3 (08:11):
Shitty waity companions, givens, decline and fall goods, anatomy of
the melancholy Darwin.
Speaker 5 (08:18):
Do they surprise you again? Miss?
Speaker 4 (08:20):
May I be frank I'll have to be if I'm
to succeed with the article. My editor is only interested,
you know, in the odd the unusual.
Speaker 6 (08:29):
And the level of my reading seems above the level
of my station.
Speaker 4 (08:34):
Not many people in any station these days.
Speaker 5 (08:36):
Come, misters. You called for frankness.
Speaker 4 (08:40):
Thank you, sir.
Speaker 3 (08:42):
Why would a man with a mind capable of absorbing
these subjects stay on a desolate job like this?
Speaker 5 (08:47):
Goodness? And I take no offense.
Speaker 6 (08:51):
You see, I had one young been very interested in
the natural philosophies. Oh, I set my course, I studied,
i'd planned the future. Then I ran wild, misused, my
opportunities went down.
Speaker 5 (09:06):
I've never risen again. But I've no complaint. I've made
my bed. It's too late to make another.
Speaker 4 (09:12):
Maybe you gave up too soon.
Speaker 6 (09:14):
No, miss no, there are forces beyond us that shape us.
One must know when not to resist. I might have
blooded myself a while longer, but I knew I took
this position thirty four years ago.
Speaker 4 (09:29):
And you never regretted. No er, not until won't you
please tell me?
Speaker 6 (09:36):
You first tell me what brought you here? But I
have you said nothing of what made you think of
this place specifically?
Speaker 5 (09:44):
There are many places and people.
Speaker 3 (09:46):
Well, I told you I used to come here as
a child. The trains frightened and fascinated me. I always
remembered it vividly through the years. I promised myself that
one day I would come back and do a story
on it.
Speaker 4 (09:58):
Good subjects aren't easy.
Speaker 5 (09:59):
To Why did you choose just now to come?
Speaker 3 (10:03):
All these ideas germinate in the writer's mind for a while,
and then an.
Speaker 5 (10:06):
Impulse and you were drawn here.
Speaker 4 (10:12):
You say that as though mystic forces were involved.
Speaker 3 (10:15):
It was much simpler. I assure you. I've been working hard.
I decided that a few days in the country would
do me good. I planned to use them profitably by
doing a story on you.
Speaker 6 (10:25):
You might have come to that decision last month, last year.
Speaker 3 (10:29):
Well, that's true, but I can't see why you attacked
such special significance to the fact that I.
Speaker 5 (10:36):
Why do they frighten your soul? Now?
Speaker 4 (10:57):
Wouldn't you think I might outgrow that? Silly cha?
Speaker 3 (11:02):
Well, if I was drawn here, as you say, I
guess it was to see whether I had The modern
psychiatrist would say it was a desire to relive a
childhood experience.
Speaker 5 (11:11):
I miss. There are many answers.
Speaker 4 (11:15):
Why are you staring at me? So? Oh?
Speaker 5 (11:17):
Oh? What I staring at you? Please? Please?
Speaker 3 (11:21):
You promised something is preying on your mind? Can't you
tell me?
Speaker 6 (11:25):
It's very difficult to impart, miss, very difficult to speak of.
Speaker 5 (11:31):
If you ever make another trip, I will try to tell.
Speaker 3 (11:34):
You yes, yes, of course, and I will have to
make several trips before the story takes shape.
Speaker 4 (11:42):
When may I come again tomorrow?
Speaker 5 (11:44):
I miss?
Speaker 4 (11:44):
If you wish, I'll come.
Speaker 5 (11:46):
At eleven, you won't have difficulty getting up.
Speaker 4 (11:51):
No, No, it was only that first trip down.
Speaker 6 (11:54):
I'll show my white light till you reach the top.
Thank you, I'll say good night now, miss, good night.
Speaker 4 (12:00):
Sir, I wish you a pleasant one.
Speaker 5 (12:02):
I regret.
Speaker 4 (12:03):
Oh, yes, I understand, I.
Speaker 5 (12:05):
Miss, I think you do. May I ask, then, when
you get to the top, don't call out to me,
I beg you don't call out.
Speaker 4 (12:15):
I won't.
Speaker 5 (12:16):
And when you come tomorrow night, please don't call out.
Speaker 4 (12:19):
Of course, not good night?
Speaker 5 (12:21):
And may I ask one part in question? Certainly, when
you came down.
Speaker 6 (12:27):
The path earlier to night midway, you suddenly threw your
hands up to your eyes like this, as though to
shut out some dreadful sight.
Speaker 3 (12:37):
Why right with that uncontrollable, childish reaction, I felt as
though the train would draw me down.
Speaker 4 (12:44):
I covered my eyes like a child not.
Speaker 5 (12:46):
To see it.
Speaker 6 (12:46):
You had no feeling that the action was conveyed to
you for some reason.
Speaker 4 (12:52):
No, why should it see otherwise?
Speaker 6 (12:56):
Because there has been someone at the red light mouth
of the tunnel each night for a week now, holding
its hands up to its eyes like that, I thought
to shut out some terrible sight.
Speaker 5 (13:08):
And you have actually seen it every night.
Speaker 4 (13:11):
Was it there tonight when you went to.
Speaker 5 (13:13):
The door, Yes, I saw it quite clearly. Who was it?
Speaker 1 (13:19):
You? Auto light is bringing you Miss Agnes moorehead with
(13:46):
Joseph Kerns in the Signal Man Tonight's presentation in Radio's
outstanding Theater of Thrills. Suspense, Hey, h Oscar, sound your horn,
(14:09):
play your radio, I'll start your engine.
Speaker 2 (14:17):
Hey, what's all that for, Hallow?
Speaker 1 (14:19):
While all those operations depend on the sure smooth performance
of your auto light electrical system, Oscar, and so do
the lights, heater and electric windshield wiper.
Speaker 2 (14:28):
They all depend on my auto light electrical system, Hollow.
Speaker 1 (14:31):
They sure do, Oscar. And what's more, your auto light
electrical system works every second your engine runs. That's why
auto light electrical systems, designed to give the smoothest performance
money can buy, are used as original equipment on many
leading makes of our finest cars, trucks and tractors.
Speaker 2 (14:48):
They're the best.
Speaker 1 (14:49):
Hurrow right to our Oscar and friends. Treat the electrical
system of your car to a periodic checkup at your
car dealers or authorized auto light service station. To quickly
locate him, look in the classified section of your phone
book or call Western Union by number and ask for
operator twenty five. And remember, from bumper to tail light,
(15:10):
you're always right with auto light. And now auto Light
brings back to our Hollywood soundstage, Miss Agnes moorehead in
Elliot Lewis's production of Charles Dickens. The Signal Man, a
tale well calculated to keep you in suspense.
Speaker 3 (15:39):
I returned the next night as the distant clocks were
striking eleven. The Signal Man waited for me at the
bottom of the cutting, with his white light shining. We
walked silently to his shack, entered it, and sat down
by the fire. I didn't wish to press him, so
I said nothing. He stared at the burning embers for
a moment.
Speaker 4 (15:57):
Then he turned to me.
Speaker 6 (15:58):
I going to tell you, miss as best I can,
for what troubles me.
Speaker 4 (16:03):
I'm glad I mistook.
Speaker 6 (16:06):
You for someone else last night. That troubles me, the
mistake of the someone else.
Speaker 4 (16:13):
Who is it? Then?
Speaker 5 (16:15):
I don't know what does it do? This time?
Speaker 6 (16:19):
It stands with its left arm across its face. The
right arm is waved violently this way, as though to say,
for God's sake, clear the way, clear the way.
Speaker 4 (16:29):
You've heard those words.
Speaker 6 (16:30):
Not certain, not about these specific words, but I I've
heard it called before.
Speaker 5 (16:36):
When one moonlight night, about a year ago, I.
Speaker 6 (16:39):
Was sitting here when I heard a voice cry, hello
below there.
Speaker 3 (16:44):
Oh, that's why you were so startled when I use
the same.
Speaker 4 (16:47):
Words I miss.
Speaker 6 (16:49):
I ran to the door and looked out and saw
this someone else standing up there by the red light
near the tunnel, waving its arm as I just showed you.
The voice was hoarse, was shouting, and it hello, below there,
look out, look out. I caught up my lamp and
ran toward the figure, calling what's wrong?
Speaker 5 (17:05):
What's happened? Where? And when I got to the light
just gone.
Speaker 4 (17:12):
Did you see where.
Speaker 6 (17:13):
The tunnel was the only place it could go without
passing me. I ran into the tunnel for five hundred
yards and searched around with my light. Then I ran
back here and telegraphed both ways. An alarm has been
given as anything wrong, and the answer came back both ways.
Speaker 5 (17:30):
All well, yes, of course.
Speaker 3 (17:34):
Now I'm going to take advantage of last night's permission
to be frank. You've been here more than thirty years,
haven't you. It isn't the most cheerful place in the world,
with that moaning wind through the tunnel and the wild
harp it makes of the telegraph wires. It's understandable that
you could have the illusion that you heard a call,
and anyone staring at the dark long enough as you
(17:55):
did from the dog, and imagine seeing something you've let
it prey on your mind, so it seems real.
Speaker 5 (18:15):
I was not finished, miss Oh, I'm sorry.
Speaker 6 (18:19):
Within six hours after it first appeared, the mainline flyer
crashed and derailed at the far end of the tunnel.
Within ten hours, the dead and the wounded were being
brought through the tunnel over the spot where the figure stood.
Speaker 4 (18:32):
It was coincidence, a tragic, remarkable coincidence. But there is more, Oh, Oh,
please forgive me.
Speaker 6 (18:39):
Six or seven months past, I had recovered from the
surprise and shark. One one morning, just as daylight was breaking,
I looked toward the red light and saw it again.
Speaker 4 (18:50):
Did it cry out?
Speaker 5 (18:51):
No? It was silent.
Speaker 4 (18:53):
It didn't wave its arm.
Speaker 6 (18:55):
No, miss Now it leaned against the post with both
hands covering the eyes like this, as though it brought
out some terrible sight.
Speaker 3 (19:03):
And that's why you asked me why I had put
my hands to my eyes, I mish.
Speaker 4 (19:07):
As I came down.
Speaker 6 (19:08):
The path, you called out the words it used the
first time you covered your eyes as.
Speaker 5 (19:13):
It did the next time.
Speaker 4 (19:15):
Go on.
Speaker 5 (19:16):
Please.
Speaker 6 (19:17):
That very day, as the train came out of the tunnel,
I noticed a confusion of hands and heads at one
of the coached platforms, and something waved. I saw it
in time to flag down the engineer. He applied his brake,
but the train drifted past here about a hundred yards.
As I ran up to it, I heard terrible screams
and cries. A beautiful young woman had fallen between the cars.
Speaker 4 (19:39):
Oh, she was.
Speaker 5 (19:40):
Brought in here. She died on this very spot between us.
Speaker 4 (19:45):
Oh, it's horrible.
Speaker 5 (19:48):
But I still don't wan final word, miss, and you
will judge how my mind is troubled.
Speaker 6 (19:55):
It came back a week ago. Ever since it has
been here at the night. It covers its eyes, It
waves its arm. It shouts, for God's sake, clear the way,
clear away. I have no rest of peace for it.
It calls to me many minutes together in an agonized manner.
Below there, look out, look out. It stands waving at me.
(20:18):
It sounds the telegraph ticker.
Speaker 4 (20:20):
Did it sound the ticker last night? While I was here?
Speaker 5 (20:22):
Twice?
Speaker 3 (20:23):
Oh, I assure you it did not sound. It was
your imagination.
Speaker 6 (20:26):
I have never made a mistake as to that Miss,
I don't wonder that you failed.
Speaker 1 (20:31):
To hear it.
Speaker 5 (20:32):
But I heard it.
Speaker 4 (20:33):
Do you hear it now?
Speaker 5 (20:37):
I What does it saying? It isn't clear. It only warns.
Speaker 6 (20:45):
It doesn't say against what If I only knew what
it meant? What is the danger? Where is the danger?
There is danger overhanging somewhere on the line, some terrible
calamity will happen.
Speaker 4 (20:57):
Now you must that reason.
Speaker 5 (20:58):
If I telegraphed.
Speaker 6 (21:00):
Danger on either side of me, or on both, I
can give no reason for it. I would get into
trouble and do no good. They would think I was mad.
This is the way it would work. Message danger, take care?
Answer what danger where? Message don't know, But for God's
sake take care.
Speaker 5 (21:16):
They would displace me. What else could they do.
Speaker 3 (21:22):
I can help you, but you must face realistically what
I have to say.
Speaker 5 (21:26):
Now.
Speaker 4 (21:26):
Will you try?
Speaker 5 (21:28):
Yes? Yes, I'll try. Miss.
Speaker 3 (21:30):
These accidents have shaken you deeply. You feel guilt about them,
even though there was nothing you could do. You've let
it prey on your mind until you imagine someone try
to warn me on herd that someone even the senses,
can deceive when the mind is under stress, Men dying
of thirst on a desert, imagine lakes and hearing running streams.
Speaker 5 (21:49):
The bodies of the dead were real enough.
Speaker 3 (21:51):
I'm speaking of what you imagined after the accidents. If
you let me, I'll prove to you, step by step
that the Specter existed only in your fantasies.
Speaker 5 (21:58):
How can you prove that in the face of what I've.
Speaker 3 (22:01):
Told me by appealing to the intelligent, reasoning portion of
your mind? Listen, you were positive when you first saw
me that I was the specter you saw up the light, Now,
weren't you?
Speaker 5 (22:11):
You used the same words.
Speaker 4 (22:13):
Well, I listen carefully.
Speaker 3 (22:14):
I appeal to the intelligent, well read, reasonable man. Three
words hello below there I was five hundred yards away
at the top of the embankment, and you were here below,
with darkness falling, and three words.
Speaker 4 (22:27):
Made you positive you had seen me before. Can't you
see you? We're trying to fit something to what you
already believed.
Speaker 5 (22:33):
But then you put your hands to your eyes. Lo
their proof.
Speaker 3 (22:37):
You've allowed yourself to believe some disaster is about to
befall When I covered my eyes because of a childish fear,
you fitted that to what you already believed.
Speaker 5 (22:45):
The telegraph ticker was'ton.
Speaker 4 (22:47):
You do not hear me out.
Speaker 3 (22:49):
Would you at any other time, or would anyone at
any time believe that a telegraph ticker could sound in
a room this small and be heard by one person
or not another.
Speaker 5 (22:56):
I told you now the most important proof.
Speaker 3 (22:59):
You said that when you went to the door last night,
it was there by the red danger light. It will
you come to the door with me now and tell
me if it is still air? Do you see it?
Speaker 5 (23:16):
No? No, miss, it is not there, agreed?
Speaker 3 (23:22):
And now I'm going to prove that it never was there.
I studied the light from the top of the hill
before I came down to night. The post is at
least seven feet high. The light is shielded with a hood.
Even if a person stood directly under it or in
front of it, they would be in complete.
Speaker 4 (23:38):
Shadow in darkness.
Speaker 3 (23:40):
You couldn't see that person from this door, and you
couldn't see that person if you walked to within a
foot of her or him or it. I'm going to
walk up the incline to the light and prove that
to you now. I walked up the inclining tracks toward
the red light at the mouth of the tunnel. The chill,
dank wind had an edge like a cold When I
(24:01):
got to the light post, I stood directly under it.
No portion of the red glow reached me.
Speaker 4 (24:07):
I was lost completely in the dark.
Speaker 3 (24:10):
I saw the signal man silhouetted in the yellow light
of the doorway.
Speaker 4 (24:14):
Hello, can you see me?
Speaker 3 (24:18):
Hello below there? Can you see me?
Speaker 1 (24:22):
Oh?
Speaker 4 (24:23):
Good?
Speaker 5 (24:25):
Now stop walking toward me.
Speaker 4 (24:27):
And tell me when you can see me.
Speaker 3 (24:31):
He stepped between the rails of the northbound track on
a line with the red signal light, and walked toward me.
Speaker 4 (24:40):
Then the icy hand of my childhood dread with me.
Speaker 3 (24:44):
There was a vague vibration of the earth and air
far behind him, coming up the grade fast, I could
begin to see the glow of the locomotive's light.
Speaker 1 (24:53):
Look out, look for gout, say through the way, hear
the way?
Speaker 4 (25:00):
He walked, as though in a spell. He didn't hear me,
or wouldn't hear me. I threw my left arm up
to my eyes and waved my right arm frantically.
Speaker 3 (25:08):
You know there the don't the dot tray away?
Speaker 4 (25:11):
Would God? They tread away?
Speaker 3 (25:16):
Ah?
Speaker 5 (25:18):
Wow?
Speaker 3 (25:45):
Long after it was over, they found me still standing there,
both of my hands up to my eyes to shut.
Speaker 7 (25:53):
Out the Terrible Sight.
Speaker 1 (26:25):
Suspense presented by Autolite to night Star Miss Agnus Moorhead.
This is Harlow Wilcox again speaking for Autolite, World's largest
independent manufacturer of automotive electrical equipment. Autolight is proud to
serve the greatest names in the industry. That's why during
these early months of nineteen fifty three, the Autolite Family
(26:47):
joins again in saluting the leading manufacturers who install auto
Light products as original equipment. Just two weeks from tonight,
as a climax to this year's Autolite Family Salute program,
we will present the citing story of the first and
only Round the World Auto Race. Our star will be
Van Johnson, and the program will be broadcast direct from
(27:08):
the Grand ballroom of New York's Waldorf Astoria Hotel, where
the Great Eastern Parade of Stars Auto Show will be
in progress. That's Monday, April sixth for the auto race
that stirred the world, And of course, be sure to
join us next week for another story of suspense. Next
(27:35):
week an American legend as we recreate the cruel murder
of Laura Foster by the bitter Tom Dooley. Our star
mister Joseph Cotton. That's next Week on Suspense. Suspense is
(27:56):
produced and directed by Elliot Lewis, with music composed by
Lucian Morrel and conducted by Lud Gluskin. Portions of the
program were transcribed. The Signalman was adapted for Suspense by
Irving Reese from the short story by Charles Dickens. In
Tonight's story, Joseph Kerns played the Signalman. Agnes Moorehead has
been on the road in Don Juan in Hell and
(28:18):
can currently be seen in Metro Goldwyn Mayer's picture The
Story of Three Loves and Remember next Week, Mister Joseph
Cotton in Tom Dooley. This is the CBS Radio Network.
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