November 16, 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 to night's presentation from radio's outstanding Theater of
Frills Suspense Tonight, 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
(00:27):
in the nineties, why then you're correct in saying it's
too hot to live.
Speaker 2 (00:48):
Here, you freeloader.
Speaker 3 (00:50):
What we don't sell tickets on the street.
Speaker 2 (00:53):
I was empty.
Speaker 3 (00:54):
I didn't think anybody in mind.
Speaker 2 (00:56):
I was hold down for a crossing.
Speaker 3 (00:57):
I don't want to find you when I come back.
Speaker 2 (01:00):
Where are we? A bud from Marcus Country?
Speaker 1 (01:03):
Thanks, go get the thanks, Just beat it before somebody
inquisitive thoughts that's a pushion.
Speaker 3 (01:08):
Yeah, don't they always. The train rolls by slowly, and
the crossing bell warns that death is here. I don't
recognize it though. I walk towards Marcus Junction, towards Death.
(01:36):
The sun is eleven o'clock high and starting to pucker
the tar road I'm heading in. The sweat is beginning
to streak through the old sun tan uniform, and my
shoes are sucking tar every time I lift them. The
sole of one boot bus loose and starts flapping against
the road. That's bad. A drifter needs a good pair
of shoes. And I'm on the drift. Marcus Junction no
(01:59):
different than any thousand others like it, about a mile
square of small buildings, all pasted together. I walk a
couple of blocks without finding a shoemaker. The town is
almost empty this Saturday morning. And then a door opens
ahead of me, and a big man steps out, really
big both ways, big high and big wide. He's wearing
(02:21):
steel rimmed glasses screwed up tight above the pug nose
of his round face, and six full inches of hat
brimmed circle of pink flish like a halo.
Speaker 2 (02:32):
Why, good morning, son, My name's Benjamin, Benjamin Martin.
Speaker 3 (02:37):
Good morning, mister Martin.
Speaker 2 (02:39):
Could you tell Benjamin Son call me Benjamin. That's the
handle that shakes this bump? Hey, what's here? Boy? Jeff Casey, Jeffrey, Jefferson, Jefferson, Jefferson.
That's a good name.
Speaker 3 (02:55):
Now, I don't think I'm changing the subject. But where
could I get this fixed? Benjamin?
Speaker 2 (03:02):
Well, pretty socks.
Speaker 3 (03:05):
They are at that, But who will take care of
the shoe?
Speaker 2 (03:08):
Yeah, I'm going down the Staceys for coke shoe fixtures
right next door. Come along, Jefferson.
Speaker 3 (03:17):
As we turn, I see his left side gun holstered
high up on his hip and the gold star with
the words Sheriff glinting in the sunlight.
Speaker 2 (03:27):
Still wearing your old army clothes. Hey, those duds were
like iron. Just throw them away when they start to rest.
Speaker 3 (03:36):
Now, uniforms wear forever. Leades have seen their last war.
Who were in Boy Air Corps Captain, pretty uniform, sweet
pay and.
Speaker 2 (03:46):
Lots of respect. You miss it, Jefferson, Maybe I do.
We're looking for now.
Speaker 3 (03:54):
I'm not looking for anything, just living more or less.
Speaker 2 (03:58):
Yeah, man, I ought to find more to do the life, and.
Speaker 3 (04:00):
That it's all the same to me. I could die
to day and it wouldn't make any difference to me
or anyone else.
Speaker 2 (04:07):
Hey, you get a bad taste in your mouth, but
you'll spit it out someday. Hee. Yeah, he liked this. Welly,
it gets any warm, it'll be almost too hot to
live in a manner of speaking, you understand. Yeah, Well,
here's a shoe pair. I'll be next door. Leave your
(04:29):
shoes and waddle in of them pretty socks. Hereies, I'll
buy you a drink Coca coffee.
Speaker 3 (04:39):
The shoemaker tells me that my shoes will take a
couple of hours, so I start next door to join Benjamin.
I don't know, maybe I'm feeling pretty good, but I
pull an old schoolboy trick of mine. I take off
my socks, roll them up, and throw them on the
counter with my shoes. Then I walk outside to feel
a cool, shaded cement prickle up through the bottom of
my bare feet. Through the store window next door, I
(05:02):
see the four people in the restaurant. Benjamin waits for
me to come in. Inside the entrance, a blondle sliver
of a man who's showing about three inches of wrist
and shin bone below the edges of his clothes. The squat,
moonfaced grill man has his pop eyes focused intently on
the argument. His flabby hands, purple red from too much hot,
(05:24):
soapy water and frying grease, make fluttering passes at a fly.
Speaker 4 (05:28):
Now, look, I want you to get out of here once.
Speaker 3 (05:30):
And I go in, brushing past the argument, walk over
to Benjamin and sit on the next door side Jefferson.
Benjamin came for the coffee.
Speaker 2 (05:40):
In a minute. Rachel's about finished and all her.
Speaker 5 (05:44):
Sins must find her out, she said, Jizabel and the Devil.
Speaker 4 (05:49):
Yeah, yeah, you'll find it on the menu next week.
Speaker 2 (05:52):
I'll find itself a street. You're bad, mad beyond all.
Speaker 3 (05:59):
Who the girl plays rough?
Speaker 2 (06:05):
That's just Rachel's way. Jefferson, Hey, I see you lean
to bare feet.
Speaker 4 (06:10):
What's your friend having?
Speaker 2 (06:11):
Buster, Benjamin Rachel? Benjamin may be smart to tack nicknames
on people, but my folks figured me for a Benjamin,
and I like it that way.
Speaker 3 (06:20):
You're a buster, want the bee soldier, the black coffee lady,
and don't let the uniform throw you. I'm no soldier anymore.
The Hollywood line of her mouth twists up into a
lopsided kind of inviting grin as she turns to get
the coffee. I watch the dark shadows that follow the
rippling lines of her uniform when she moves. Rachel is
(06:43):
quite a woman or.
Speaker 4 (06:45):
Woman coffee barefoot like you, Soldier. Hey, your friend's real
pretty Buster.
Speaker 2 (06:54):
You think everybody's pretty. Oh, but he's a doll. You'd
be around a long.
Speaker 3 (06:58):
Soldier long enough to get my shoes fixed. Rachel, Rachel.
That name doesn't go with you.
Speaker 2 (07:08):
It's a name too bad.
Speaker 4 (07:10):
You're moving on so soon. New faces are scarce around here,
especially one like yours.
Speaker 2 (07:17):
Well, I got some lauding for it, like see you
for you go, Jefferson.
Speaker 3 (07:23):
I'll find you, Benjamin.
Speaker 2 (07:25):
Do that boy, I'm afraid to face that heat out there. Now.
You behave yourself, Rachel.
Speaker 3 (07:30):
Yeah, yeah, yes, well you like playing it tough.
Speaker 4 (07:36):
Under it all beats a heart of gold. Tell me
what it's like in the world outside, Soldier.
Speaker 6 (07:43):
Hey, Rachel, why don't you put up some more coffee?
Speaker 4 (07:45):
Tend me your bacon lover? I got company your boyfriend
love her boy there, that's Kenny. He's keeping company with
a hot grill.
Speaker 6 (07:53):
You ought to talk about me like that, Rachel.
Speaker 2 (07:55):
It's not right.
Speaker 4 (07:56):
Well, then don't bother me while I'm with my friends. Hey, Soldier,
I'm off out now. Dot you and me go out
to the carnival for a couple hours.
Speaker 2 (08:06):
You let her alone. Don't go with her. You're here.
Speaker 3 (08:08):
Yeah, I hear Kenny. I'd like to Rachel, But how
do I go barefoot?
Speaker 2 (08:14):
Oh?
Speaker 3 (08:15):
Forgot? You got any other ideas?
Speaker 4 (08:19):
Yeahs a matter of fact, I live upstairs over this
greasy spool. Let's go up and mix ourselves something cool
while we wait for your shoes.
Speaker 2 (08:28):
You can't do that. It isn't nice.
Speaker 3 (08:29):
It don't look right, don't it. Let's go, Rachel, you can't.
I'll stop you.
Speaker 4 (08:37):
I'd go hash some potatoes.
Speaker 6 (08:38):
Lever my arm, Soldier, No, no, Rachel, I'll get someone
to ten to ten.
Speaker 3 (08:44):
Here, I'll come run up.
Speaker 4 (08:45):
You do an, I'll barbecue you on your own grill.
Speaker 3 (08:51):
We go out, and my feet scruff over the shaded
pavement as we passed through the doorway on the left.
I follow her up a flight of stairs and into
a small box like apartment, living room, bedroom, kitchen and bathroom.
Speaker 4 (09:05):
Be it ever so humble?
Speaker 2 (09:06):
This is home.
Speaker 3 (09:08):
Let's kick out a wall or something.
Speaker 4 (09:10):
The windows don't help much.
Speaker 3 (09:11):
But the drinks, well, why do you have to lean
into the kitchen? Why not just walk in?
Speaker 4 (09:16):
Fresh varnish on the floor. The heat, don't let it dry?
The long reach for a long drink.
Speaker 3 (09:23):
It's a long day.
Speaker 4 (09:28):
Here you go, Soldier.
Speaker 3 (09:31):
Don't you believe in mixing anything with your liquor before the.
Speaker 4 (09:34):
Cubes will melt?
Speaker 2 (09:37):
Nah? What do we drink to Soldier? The heat? The
heat cool? Jacques. Don't it.
Speaker 3 (09:48):
Burns its way down my stomach and explodes.
Speaker 2 (09:51):
It's good ain't it soldier?
Speaker 3 (09:53):
My pores open and the perspiration hoses down.
Speaker 2 (09:56):
You have another, don't let him wear us.
Speaker 3 (09:58):
She's still talking, but I'm going. Let's drink to heat,
no food. I shouldn't be drinking. Who cares? I'm getting foggy,
She's drifting closer. I don't know who kisses who first.
(10:20):
Bitter tears, tears of loneliness and regret. Everything is moving
around like feathers in a high wind, and sometimes one
drifts in through the fog. We're drinking, how many car
(10:44):
no breathing, sucking down, scorching air, hot, damp, waves of heat, suffocating.
She's close, can smell perfume, cheap like ten ear rings,
black rolling in black velvet, in the shimmering heat, wavering,
(11:07):
like plucking a taut string, wavering, wavering, wavering. There's a
steady sound, sharp, smart little cracks. I tear my eyelids apart,
(11:31):
and a flash of ceiling whirls by. A purple red
mass is coming towards my face, and when it hits,
there's a sound, and the ceiling moving the other way.
Of frozen kind of pain is seeping through my brain
and I can make out a voice now I get
my hand up to my face and wipe my eyes.
My hand comes away wet and sticky, in a red
(11:55):
purple mass comes awake.
Speaker 2 (11:57):
Now, swell.
Speaker 6 (12:00):
I got something for her over there in the corner
of the kitchen. See how she's lying.
Speaker 3 (12:04):
There, taking your hands off me. That's how I found her.
Speaker 6 (12:08):
You beside her when you're filthy, hands still tighter on
her throat.
Speaker 3 (12:12):
What some matter of my hands?
Speaker 6 (12:15):
Sticky, wet, that's varnish in blood, your blood. See that
knife in her hand, she cuts your trying to stop you.
Speaker 7 (12:23):
You killed her, You kill Rachel.
Speaker 3 (12:30):
He doesn't make any kind of sense. The bathroom door
is open, and I staggered towards it, stepping on broken
glass panes, stinging, remembering bare feet the open shower waiting
for me. I turned the handle of the cold water
and half throw myself into the shock of the cold streams,
coming alive, the reaction setting in fight. He said I'd
(12:56):
killed her.
Speaker 2 (12:57):
He shove Benjamin, Hey, Benjamin, come on up here.
Speaker 3 (13:01):
I got a dirty killer for you.
Speaker 2 (13:03):
That lousy friend of yours. Kill Rachel.
Speaker 3 (13:06):
Come and get him, Kenny shouting out the window in
the other room to Benjamin, I gotta get away, gotta
think what happened? What I get through the bathroom window
out into the glare of the sun. In my feet
hit the scalding car of the Marquee. I scrambled across it,
drop to the street, a narrow alley, and I'm running
(13:28):
down a toward the fence that blocks off the far end.
A garbage can near the fence and a woman putting
something into it. I jump, reaching for the fence. Hey,
what do you think you're doing? Let me go, Let
go pick up that garbage. You crazy. I didn't do it.
What do you mean? I saw you kick it over.
I'm not going to clean up that man.
Speaker 2 (13:45):
I didn't kill her.
Speaker 3 (13:46):
Take your hands off me. Why would I kill Rachel?
Speaker 2 (13:48):
Why would you kill all Right, Jefferson, come along and
tell me why you killed Rachel.
Speaker 1 (14:05):
You are listening to mister Sam Edwards in Sam Ralph's story,
Too Hop to Live. Tonight's presentation in Radio's Outstanding Theater
of Thrills Suspense, Bachelor would Be Completely Safe was on
(14:28):
a stagline. Usually, of course, there's no more secure terrain.
But a couple of slck swindlers figure out a new
wrinkle in crime, and the Stagline becomes the focal point
for a neat, ruthless racket. Hear the complete story of
the Stagline Swindlers tomorrow night, when CBS Radio presents the
FBI in Peace and War on most of these same stations.
(14:48):
And now we bring back to our Hollywood sound stage,
mister Sam Edwards in Elliott Lewis's production of Too Hop
to Live, a tale well calculated to keep.
Speaker 3 (14:59):
You in suspense. Benjamin is leading me out into the
sweltering street again. The sun burns into my flesh, accusing
as if to cause the murder to flow out of
(15:21):
my open pores. And Benjamin walks beside me again, not
holding me, just talking, asking questions which I can't answer.
Speaker 2 (15:31):
Why'd you do it? Son?
Speaker 3 (15:32):
I didn't kill her, Benjamin, I don't remember, but.
Speaker 2 (15:36):
You don't sound sure. Jefferson, Now don't you know?
Speaker 3 (15:40):
We were drinking.
Speaker 2 (15:41):
I blacked out, drunk, unconscious. You could still move around
to do what was done in that apartment, but I couldn't.
Speaker 3 (15:50):
Why would I want to do a thing like that?
Speaker 2 (15:53):
Maybe you played too rough, Maybe she tried to stop you,
got you with a knife. Why'd you run a I
was scared?
Speaker 3 (16:03):
Kenny said, My hands were around her throat, blood vonnish heat.
Speaker 2 (16:07):
Remember anything, Rachel sprawl on.
Speaker 3 (16:11):
The gummy floor. I can't remember.
Speaker 2 (16:15):
Yeah, I'll have to lock you up, and then I'll
go back and have a good look around. Maybe i'll
find something. And if you don't, Rachel's dead. Jefferson wasn't premeditated.
But that don't excuse it. He's still dead.
Speaker 3 (16:35):
They'll try to hang me. Why can't I remember what happened?
Speaker 2 (16:39):
What led to this?
Speaker 3 (16:42):
The sweat's rolling down in his park, collecting along the
top of his glasses, sliding into his eyes. They smart
and snap shut. He has to stop, try to rub
the sting away. I slapped the glasses, knocking off his
face and grab for his gun. His arm comes down fast, hard,
chopping my hand, numbing the arm to the shoulder, and
the gun falls of the road. I run, hobbling up
(17:04):
and down, lopsided, trying to get away from Benjamin, from
the burning and torn feet under me.
Speaker 2 (17:08):
Come back, you can't get far. I'll get you anyway.
Speaker 3 (17:14):
I'm running again, down the burning streets, out to the
end of town, toward the railroad. Now off the searing pavement,
but jagged rocks and sharp brush tear at the numbed
pain that is my feet. I run till my legs
spide away from under me, and then crawl, dragging a
body that has no feeling, a dead weight that robs
my arms of their strength. And finally, steel rails glistened
(17:35):
the head as I lay, sprawled out, heart and lung.
He's going crazy in my body. Something starts down in
my chest, spreads up to my throat, spilling out of
my mouth.
Speaker 2 (17:46):
I run out.
Speaker 3 (17:56):
An hour has passed and the sun is moving away
towards the west. No trains have passed. But it's all right.
I know what I have to do. Now find Kenny,
and one way or another forced him to tell the truth,
for he must be lying. I licked my hunt and
wipe the dried blood off my hands and feet, comb
(18:18):
my hair, throw away the army shirt, and move back
to town. Stepping gently, I make my way up the
back streets to the restaurant, pulling my pants down low
to cover as much of my bare feet as possible.
I step inside. There's a stranger behind the counter. Well, haldi, Hi,
(18:40):
where's everybody in this town?
Speaker 7 (18:41):
Or most are out of the carnival, Some are looking
for a killer roam and around.
Speaker 3 (18:46):
I heard about him. Hardy was picked up a couple
of miles out.
Speaker 2 (18:50):
They got him good deal. You know Rachel worked here?
Speaker 3 (18:54):
Yeah, I know. Say, uh, where's Kenny.
Speaker 7 (18:58):
Oh he's out at the clothes place. He wanted to
be the one to tell Rachel's folks.
Speaker 2 (19:02):
About the muneral.
Speaker 3 (19:04):
I I guess I heard to go out there and
pick him up. I don't know the place too well.
How do I get there?
Speaker 7 (19:10):
Oh? Just follow this road down about a half mile
out of town. You'll find a dirt cut off. Can't
miss the mailbox. Thanks, say if you miss him. All
I say was asking just tell him his cousin Jim
was here.
Speaker 2 (19:23):
Please.
Speaker 7 (19:24):
Hey, hey, you ain't wearing shoes.
Speaker 2 (19:27):
You you're the one.
Speaker 7 (19:28):
You're the cure.
Speaker 3 (19:32):
Run run, run again. Another alley, blispering pavements, cement, ripping
on the jagged rocks.
Speaker 2 (19:38):
Again.
Speaker 3 (19:39):
Time is running to running out. Benjamin will know where
I'm going out to the main highway. Hans pulled low
and thumb up in the air. Here comes my ride.
He's gotta stop, gotta stop. Please that fun said, Thanks mister,
thanks a lot, welcome, But I'm not gold Power I'm
(20:02):
just going out to the Clovist farm that's about I
know the place. Why are you going there? Now? I'm
a cousin of Kenny's. I'm gonna meet him out there. Oh,
I don't place you. I'm visiting from back east. I'm
not wearing shoes. Yeah, that's a silly thing. I lost
(20:24):
my shoes while waiting barefoot in a stream. Didn't help
my feet any What stream is that? Uh? You know
the one I don't know the name of. It's it's
out there in the woods. Yeah, I think I know
the one. This is the dirt road you want houses
(20:44):
over the rise? Thanks again, see you. I limp up
the rising dirt pass. At the top, I turn for
a look at my ride. He's swinging around towards town.
(21:05):
Benjamin will get to me, and soon an old, two
storied farmhouse rises out of the cleared fields around me.
A big gray barn stands off near the house, and
two old cars are sitting empty behind it. Kenny's got
to come to one of them. I'll wait time. Still
running out and away from me, little shimmering waves of
(21:29):
heat rise off the ten hoods of the cars. Here
he comes now or never?
Speaker 2 (21:39):
Clip trailer.
Speaker 3 (21:40):
I'll break your belt. I want the truth, Kenny, the truth,
if I have to kill you for it. I didn't
kill Rachel. Who did I didn't. I didn't, I didn't.
Speaker 6 (21:51):
You killed her?
Speaker 3 (21:52):
You're crazy jealous? Oh yes, you came to check up,
you found us drunk, and you got wild.
Speaker 2 (21:57):
You killed her.
Speaker 3 (21:58):
I didn't. I approve of it. Prove it.
Speaker 6 (22:01):
There wasn't three minutes between the time I left the
restaurant and the time I called Benjamin. Not enough time
to get up there, kill her and bring you around.
Speaker 3 (22:08):
Three minutes.
Speaker 6 (22:09):
I can prove it. That's all the time you did it.
You have cut hands from her knife. Those hands were
still a round her throat when I came in.
Speaker 2 (22:17):
You killed Rachel.
Speaker 3 (22:22):
And there it is. He isn't lying about the three minutes.
That gloating smirk on his face tells me that I
had killed her. The horror of this afternoon had been
for nothing. I'd tried to save my life. Instead, I'd
proven myself guilty, tied the rope finally, and for all
time around my neck.
Speaker 6 (22:39):
Shoot him. Don't just stand there, suit, he's the man
who kills your daughter.
Speaker 3 (22:48):
He stands there watching the gaunt sliver of a man
with shins and freshly scarred wrists exposed below the edges
of his clothing. A double barrel shotgun has cradled in
his arms, but he just looks at me a while.
Fire striking out of the black pupils of his eyes.
Speaker 2 (23:03):
Shot him. He kills your daughter.
Speaker 3 (23:05):
He killed Rachel, so you're her father. I thought it
was a nickname.
Speaker 5 (23:11):
She was no daughter of mine. She was born to me,
and I named her Rachel from the Bible, but she
was the daughter of Satan.
Speaker 3 (23:21):
I'm sorry, mister Clovis, shoot him.
Speaker 6 (23:23):
Because of him, Rachel is dead.
Speaker 5 (23:25):
She turned away from me, but within me the voice
was strong. I followed her, begging, reading to her from
the book to the place where she lived, where she worked,
but she turned me away with curses.
Speaker 3 (23:41):
I'm sorry.
Speaker 8 (23:43):
I was drunk, crazy in that apartment, the stench of
drink like an evil cloud. You lying drunk with the
devils fever.
Speaker 3 (23:56):
You were there, Shot off your crazy, old fool.
Speaker 8 (23:59):
She took a knife to drive me out. These scars
on my wrist. My lords attacked me, and it came
to me like a voice from on high. I knew
what I must do.
Speaker 2 (24:17):
You killed her.
Speaker 3 (24:18):
It wasn't me, It was you.
Speaker 2 (24:19):
How you did it?
Speaker 6 (24:20):
You couldn't keep her mouth shut.
Speaker 3 (24:21):
You knew he did it. Kenny. You tried to make
me believe that i'd been the one.
Speaker 2 (24:24):
Why Hugh, You.
Speaker 6 (24:28):
And tramps like you, always keeping her from me coming
along every time.
Speaker 3 (24:34):
I couldn't know this, Kenny, you didn't care.
Speaker 6 (24:38):
You laughed at me, made Rachel laugh at me. I
passed the old man when I went up. I knew
as soon as I walked into the room.
Speaker 3 (24:46):
And you tried to blame it on me.
Speaker 6 (24:48):
Why not. It wasn't a crazy old godhu killed her.
Speaker 3 (24:51):
It was you and men like you.
Speaker 6 (24:53):
She would have married me, but you and your.
Speaker 2 (24:55):
Time came along. I hate you. You did kill her.
You'll die for it. Give me the gun, ole man.
Speaker 3 (25:02):
No, no, Kenny, not now.
Speaker 6 (25:05):
Tear around, soldier, turn to see it. What happens?
Speaker 2 (25:11):
Well?
Speaker 9 (25:13):
No, all right, Jefferson, We'll go home now.
Speaker 3 (25:40):
The sun is moving down low in the skies, and
a cool light breeze has come up from somewhere. I'm
leaning back on the front seat besides Benjamin, breathing deeply, evenly,
feeling the goodness of just living. Seat through in the
back seat. Old man Clovis sits staring at and not
(26:01):
even aware of the blanket wrapped body of Kenny lying
on the floor at his feet.
Speaker 2 (26:05):
You hadn't been so eager to run, I could have
saved your feet a lot. Aware. I knew you weren't
a murderer, son, You knew sure. I went back to
the apartment. The old story's there in the varnish on
the kitchen floor. No marks of bare feet around the body,
but lots of hob nailed bootprints. You cut your hand
(26:25):
on broken glass in the living room.
Speaker 3 (26:28):
It bled, and I was running.
Speaker 2 (26:34):
Yeah, he for a man who don't care whether he
lives or dies. You sure got lots of jack rabbit
in your legs. What a day.
Speaker 3 (26:44):
It's been quite a day, Benjamin.
Speaker 2 (26:47):
There's been a scorcher. Ain't it glad to see the
sun going down?
Speaker 6 (26:53):
Uh?
Speaker 2 (26:53):
The day like this, it's almost too hot to live.
Speaker 3 (26:57):
Don't say that, Benjamin. It never gets.
Speaker 10 (27:00):
Saha suspense in which Sam Edwards was starting too hot
(27:31):
to live.
Speaker 1 (27:33):
Next week, the story of a woman who had a
strange visitor, a man who wanted to spend a day
with her, just waiting until her husband got home from work.
So that he could kill him. It's called The Tip
That's Next Week on Suspense. Suspense is produced and directed
(28:04):
by Elliot Lewis, with music composed by Lucian Morrowick and
conducted by lud Gluskin. Too Hot to Live was written
for Suspense by Sam Rawl. In tonight's story, Sam Edwards
was heard as Jefferson and Paul Freese as Benjamin. Featured
in the cast were Mary Jane Croft, Lee Millar, Junius Matthews,
Charles Calvert, Herb Butterfield and Jean Wood and Remember next
(28:28):
Week Carl Abrams play The Tip. The tragic story of
an unidentified boy hit by a car after hitching a
ride on the back of a truck is told tomorrow
(28:49):
night on CBS Radio's twenty first Precinct. Police of the
twenty first Precinct tracked down the boy's identity through his
sweater marked red tigers. Before they'rethrough, even kate hardened cops
have to swallow hard to keep back tears. Don't miss
twenty first Precinct Tomorrow Night. On most of these same stations.
(29:13):
He really clicks against criminals. Crime photographer on the CBS
Radio Network
And now to night's presentation from radio's outstanding Theater of
Frills Suspense Tonight, 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
(00:27):
in the nineties, why then you're correct in saying it's
too hot to live.
Speaker 2 (00:48):
Here, you freeloader.
Speaker 3 (00:50):
What we don't sell tickets on the street.
Speaker 2 (00:53):
I was empty.
Speaker 3 (00:54):
I didn't think anybody in mind.
Speaker 2 (00:56):
I was hold down for a crossing.
Speaker 3 (00:57):
I don't want to find you when I come back.
Speaker 2 (01:00):
Where are we? A bud from Marcus Country?
Speaker 1 (01:03):
Thanks, go get the thanks, Just beat it before somebody
inquisitive thoughts that's a pushion.
Speaker 3 (01:08):
Yeah, don't they always. The train rolls by slowly, and
the crossing bell warns that death is here. I don't
recognize it though. I walk towards Marcus Junction, towards Death.
(01:36):
The sun is eleven o'clock high and starting to pucker
the tar road I'm heading in. The sweat is beginning
to streak through the old sun tan uniform, and my
shoes are sucking tar every time I lift them. The
sole of one boot bus loose and starts flapping against
the road. That's bad. A drifter needs a good pair
of shoes. And I'm on the drift. Marcus Junction no
(01:59):
different than any thousand others like it, about a mile
square of small buildings, all pasted together. I walk a
couple of blocks without finding a shoemaker. The town is
almost empty this Saturday morning. And then a door opens
ahead of me, and a big man steps out, really
big both ways, big high and big wide. He's wearing
(02:21):
steel rimmed glasses screwed up tight above the pug nose
of his round face, and six full inches of hat
brimmed circle of pink flish like a halo.
Speaker 2 (02:32):
Why, good morning, son, My name's Benjamin, Benjamin Martin.
Speaker 3 (02:37):
Good morning, mister Martin.
Speaker 2 (02:39):
Could you tell Benjamin Son call me Benjamin. That's the
handle that shakes this bump? Hey, what's here? Boy? Jeff Casey, Jeffrey, Jefferson, Jefferson, Jefferson.
That's a good name.
Speaker 3 (02:55):
Now, I don't think I'm changing the subject. But where
could I get this fixed? Benjamin?
Speaker 2 (03:02):
Well, pretty socks.
Speaker 3 (03:05):
They are at that, But who will take care of
the shoe?
Speaker 2 (03:08):
Yeah, I'm going down the Staceys for coke shoe fixtures
right next door. Come along, Jefferson.
Speaker 3 (03:17):
As we turn, I see his left side gun holstered
high up on his hip and the gold star with
the words Sheriff glinting in the sunlight.
Speaker 2 (03:27):
Still wearing your old army clothes. Hey, those duds were
like iron. Just throw them away when they start to rest.
Speaker 3 (03:36):
Now, uniforms wear forever. Leades have seen their last war.
Who were in Boy Air Corps Captain, pretty uniform, sweet
pay and.
Speaker 2 (03:46):
Lots of respect. You miss it, Jefferson, Maybe I do.
We're looking for now.
Speaker 3 (03:54):
I'm not looking for anything, just living more or less.
Speaker 2 (03:58):
Yeah, man, I ought to find more to do the life, and.
Speaker 3 (04:00):
That it's all the same to me. I could die
to day and it wouldn't make any difference to me
or anyone else.
Speaker 2 (04:07):
Hey, you get a bad taste in your mouth, but
you'll spit it out someday. Hee. Yeah, he liked this. Welly,
it gets any warm, it'll be almost too hot to
live in a manner of speaking, you understand. Yeah, Well,
here's a shoe pair. I'll be next door. Leave your
(04:29):
shoes and waddle in of them pretty socks. Hereies, I'll
buy you a drink Coca coffee.
Speaker 3 (04:39):
The shoemaker tells me that my shoes will take a
couple of hours, so I start next door to join Benjamin.
I don't know, maybe I'm feeling pretty good, but I
pull an old schoolboy trick of mine. I take off
my socks, roll them up, and throw them on the
counter with my shoes. Then I walk outside to feel
a cool, shaded cement prickle up through the bottom of
my bare feet. Through the store window next door, I
(05:02):
see the four people in the restaurant. Benjamin waits for
me to come in. Inside the entrance, a blondle sliver
of a man who's showing about three inches of wrist
and shin bone below the edges of his clothes. The squat,
moonfaced grill man has his pop eyes focused intently on
the argument. His flabby hands, purple red from too much hot,
(05:24):
soapy water and frying grease, make fluttering passes at a fly.
Speaker 4 (05:28):
Now, look, I want you to get out of here once.
Speaker 3 (05:30):
And I go in, brushing past the argument, walk over
to Benjamin and sit on the next door side Jefferson.
Benjamin came for the coffee.
Speaker 2 (05:40):
In a minute. Rachel's about finished and all her.
Speaker 5 (05:44):
Sins must find her out, she said, Jizabel and the Devil.
Speaker 4 (05:49):
Yeah, yeah, you'll find it on the menu next week.
Speaker 2 (05:52):
I'll find itself a street. You're bad, mad beyond all.
Speaker 3 (05:59):
Who the girl plays rough?
Speaker 2 (06:05):
That's just Rachel's way. Jefferson, Hey, I see you lean
to bare feet.
Speaker 4 (06:10):
What's your friend having?
Speaker 2 (06:11):
Buster, Benjamin Rachel? Benjamin may be smart to tack nicknames
on people, but my folks figured me for a Benjamin,
and I like it that way.
Speaker 3 (06:20):
You're a buster, want the bee soldier, the black coffee lady,
and don't let the uniform throw you. I'm no soldier anymore.
The Hollywood line of her mouth twists up into a
lopsided kind of inviting grin as she turns to get
the coffee. I watch the dark shadows that follow the
rippling lines of her uniform when she moves. Rachel is
(06:43):
quite a woman or.
Speaker 4 (06:45):
Woman coffee barefoot like you, Soldier. Hey, your friend's real
pretty Buster.
Speaker 2 (06:54):
You think everybody's pretty. Oh, but he's a doll. You'd
be around a long.
Speaker 3 (06:58):
Soldier long enough to get my shoes fixed. Rachel, Rachel.
That name doesn't go with you.
Speaker 2 (07:08):
It's a name too bad.
Speaker 4 (07:10):
You're moving on so soon. New faces are scarce around here,
especially one like yours.
Speaker 2 (07:17):
Well, I got some lauding for it, like see you
for you go, Jefferson.
Speaker 3 (07:23):
I'll find you, Benjamin.
Speaker 2 (07:25):
Do that boy, I'm afraid to face that heat out there. Now.
You behave yourself, Rachel.
Speaker 3 (07:30):
Yeah, yeah, yes, well you like playing it tough.
Speaker 4 (07:36):
Under it all beats a heart of gold. Tell me
what it's like in the world outside, Soldier.
Speaker 6 (07:43):
Hey, Rachel, why don't you put up some more coffee?
Speaker 4 (07:45):
Tend me your bacon lover? I got company your boyfriend
love her boy there, that's Kenny. He's keeping company with
a hot grill.
Speaker 6 (07:53):
You ought to talk about me like that, Rachel.
Speaker 2 (07:55):
It's not right.
Speaker 4 (07:56):
Well, then don't bother me while I'm with my friends. Hey, Soldier,
I'm off out now. Dot you and me go out
to the carnival for a couple hours.
Speaker 2 (08:06):
You let her alone. Don't go with her. You're here.
Speaker 3 (08:08):
Yeah, I hear Kenny. I'd like to Rachel, But how
do I go barefoot?
Speaker 2 (08:14):
Oh?
Speaker 3 (08:15):
Forgot? You got any other ideas?
Speaker 4 (08:19):
Yeahs a matter of fact, I live upstairs over this
greasy spool. Let's go up and mix ourselves something cool
while we wait for your shoes.
Speaker 2 (08:28):
You can't do that. It isn't nice.
Speaker 3 (08:29):
It don't look right, don't it. Let's go, Rachel, you can't.
I'll stop you.
Speaker 4 (08:37):
I'd go hash some potatoes.
Speaker 6 (08:38):
Lever my arm, Soldier, No, no, Rachel, I'll get someone
to ten to ten.
Speaker 3 (08:44):
Here, I'll come run up.
Speaker 4 (08:45):
You do an, I'll barbecue you on your own grill.
Speaker 3 (08:51):
We go out, and my feet scruff over the shaded
pavement as we passed through the doorway on the left.
I follow her up a flight of stairs and into
a small box like apartment, living room, bedroom, kitchen and bathroom.
Speaker 4 (09:05):
Be it ever so humble?
Speaker 2 (09:06):
This is home.
Speaker 3 (09:08):
Let's kick out a wall or something.
Speaker 4 (09:10):
The windows don't help much.
Speaker 3 (09:11):
But the drinks, well, why do you have to lean
into the kitchen? Why not just walk in?
Speaker 4 (09:16):
Fresh varnish on the floor. The heat, don't let it dry?
The long reach for a long drink.
Speaker 3 (09:23):
It's a long day.
Speaker 4 (09:28):
Here you go, Soldier.
Speaker 3 (09:31):
Don't you believe in mixing anything with your liquor before the.
Speaker 4 (09:34):
Cubes will melt?
Speaker 2 (09:37):
Nah? What do we drink to Soldier? The heat? The
heat cool? Jacques. Don't it.
Speaker 3 (09:48):
Burns its way down my stomach and explodes.
Speaker 2 (09:51):
It's good ain't it soldier?
Speaker 3 (09:53):
My pores open and the perspiration hoses down.
Speaker 2 (09:56):
You have another, don't let him wear us.
Speaker 3 (09:58):
She's still talking, but I'm going. Let's drink to heat,
no food. I shouldn't be drinking. Who cares? I'm getting foggy,
She's drifting closer. I don't know who kisses who first.
(10:20):
Bitter tears, tears of loneliness and regret. Everything is moving
around like feathers in a high wind, and sometimes one
drifts in through the fog. We're drinking, how many car
(10:44):
no breathing, sucking down, scorching air, hot, damp, waves of heat, suffocating.
She's close, can smell perfume, cheap like ten ear rings,
black rolling in black velvet, in the shimmering heat, wavering,
(11:07):
like plucking a taut string, wavering, wavering, wavering. There's a
steady sound, sharp, smart little cracks. I tear my eyelids apart,
(11:31):
and a flash of ceiling whirls by. A purple red
mass is coming towards my face, and when it hits,
there's a sound, and the ceiling moving the other way.
Of frozen kind of pain is seeping through my brain
and I can make out a voice now I get
my hand up to my face and wipe my eyes.
My hand comes away wet and sticky, in a red
(11:55):
purple mass comes awake.
Speaker 2 (11:57):
Now, swell.
Speaker 6 (12:00):
I got something for her over there in the corner
of the kitchen. See how she's lying.
Speaker 3 (12:04):
There, taking your hands off me. That's how I found her.
Speaker 6 (12:08):
You beside her when you're filthy, hands still tighter on
her throat.
Speaker 3 (12:12):
What some matter of my hands?
Speaker 6 (12:15):
Sticky, wet, that's varnish in blood, your blood. See that
knife in her hand, she cuts your trying to stop you.
Speaker 7 (12:23):
You killed her, You kill Rachel.
Speaker 3 (12:30):
He doesn't make any kind of sense. The bathroom door
is open, and I staggered towards it, stepping on broken
glass panes, stinging, remembering bare feet the open shower waiting
for me. I turned the handle of the cold water
and half throw myself into the shock of the cold streams,
coming alive, the reaction setting in fight. He said I'd
(12:56):
killed her.
Speaker 2 (12:57):
He shove Benjamin, Hey, Benjamin, come on up here.
Speaker 3 (13:01):
I got a dirty killer for you.
Speaker 2 (13:03):
That lousy friend of yours. Kill Rachel.
Speaker 3 (13:06):
Come and get him, Kenny shouting out the window in
the other room to Benjamin, I gotta get away, gotta
think what happened? What I get through the bathroom window
out into the glare of the sun. In my feet
hit the scalding car of the Marquee. I scrambled across it,
drop to the street, a narrow alley, and I'm running
(13:28):
down a toward the fence that blocks off the far end.
A garbage can near the fence and a woman putting
something into it. I jump, reaching for the fence. Hey,
what do you think you're doing? Let me go, Let
go pick up that garbage. You crazy. I didn't do it.
What do you mean? I saw you kick it over.
I'm not going to clean up that man.
Speaker 2 (13:45):
I didn't kill her.
Speaker 3 (13:46):
Take your hands off me. Why would I kill Rachel?
Speaker 2 (13:48):
Why would you kill all Right, Jefferson, come along and
tell me why you killed Rachel.
Speaker 1 (14:05):
You are listening to mister Sam Edwards in Sam Ralph's story,
Too Hop to Live. Tonight's presentation in Radio's Outstanding Theater
of Thrills Suspense, Bachelor would Be Completely Safe was on
(14:28):
a stagline. Usually, of course, there's no more secure terrain.
But a couple of slck swindlers figure out a new
wrinkle in crime, and the Stagline becomes the focal point
for a neat, ruthless racket. Hear the complete story of
the Stagline Swindlers tomorrow night, when CBS Radio presents the
FBI in Peace and War on most of these same stations.
(14:48):
And now we bring back to our Hollywood sound stage,
mister Sam Edwards in Elliott Lewis's production of Too Hop
to Live, a tale well calculated to keep.
Speaker 3 (14:59):
You in suspense. Benjamin is leading me out into the
sweltering street again. The sun burns into my flesh, accusing
as if to cause the murder to flow out of
(15:21):
my open pores. And Benjamin walks beside me again, not
holding me, just talking, asking questions which I can't answer.
Speaker 2 (15:31):
Why'd you do it? Son?
Speaker 3 (15:32):
I didn't kill her, Benjamin, I don't remember, but.
Speaker 2 (15:36):
You don't sound sure. Jefferson, Now don't you know?
Speaker 3 (15:40):
We were drinking.
Speaker 2 (15:41):
I blacked out, drunk, unconscious. You could still move around
to do what was done in that apartment, but I couldn't.
Speaker 3 (15:50):
Why would I want to do a thing like that?
Speaker 2 (15:53):
Maybe you played too rough, Maybe she tried to stop you,
got you with a knife. Why'd you run a I
was scared?
Speaker 3 (16:03):
Kenny said, My hands were around her throat, blood vonnish heat.
Speaker 2 (16:07):
Remember anything, Rachel sprawl on.
Speaker 3 (16:11):
The gummy floor. I can't remember.
Speaker 2 (16:15):
Yeah, I'll have to lock you up, and then I'll
go back and have a good look around. Maybe i'll
find something. And if you don't, Rachel's dead. Jefferson wasn't premeditated.
But that don't excuse it. He's still dead.
Speaker 3 (16:35):
They'll try to hang me. Why can't I remember what happened?
Speaker 2 (16:39):
What led to this?
Speaker 3 (16:42):
The sweat's rolling down in his park, collecting along the
top of his glasses, sliding into his eyes. They smart
and snap shut. He has to stop, try to rub
the sting away. I slapped the glasses, knocking off his
face and grab for his gun. His arm comes down fast, hard,
chopping my hand, numbing the arm to the shoulder, and
the gun falls of the road. I run, hobbling up
(17:04):
and down, lopsided, trying to get away from Benjamin, from
the burning and torn feet under me.
Speaker 2 (17:08):
Come back, you can't get far. I'll get you anyway.
Speaker 3 (17:14):
I'm running again, down the burning streets, out to the
end of town, toward the railroad. Now off the searing pavement,
but jagged rocks and sharp brush tear at the numbed
pain that is my feet. I run till my legs
spide away from under me, and then crawl, dragging a
body that has no feeling, a dead weight that robs
my arms of their strength. And finally, steel rails glistened
(17:35):
the head as I lay, sprawled out, heart and lung.
He's going crazy in my body. Something starts down in
my chest, spreads up to my throat, spilling out of
my mouth.
Speaker 2 (17:46):
I run out.
Speaker 3 (17:56):
An hour has passed and the sun is moving away
towards the west. No trains have passed. But it's all right.
I know what I have to do. Now find Kenny,
and one way or another forced him to tell the truth,
for he must be lying. I licked my hunt and
wipe the dried blood off my hands and feet, comb
(18:18):
my hair, throw away the army shirt, and move back
to town. Stepping gently, I make my way up the
back streets to the restaurant, pulling my pants down low
to cover as much of my bare feet as possible.
I step inside. There's a stranger behind the counter. Well, haldi, Hi,
(18:40):
where's everybody in this town?
Speaker 7 (18:41):
Or most are out of the carnival, Some are looking
for a killer roam and around.
Speaker 3 (18:46):
I heard about him. Hardy was picked up a couple
of miles out.
Speaker 2 (18:50):
They got him good deal. You know Rachel worked here?
Speaker 3 (18:54):
Yeah, I know. Say, uh, where's Kenny.
Speaker 7 (18:58):
Oh he's out at the clothes place. He wanted to
be the one to tell Rachel's folks.
Speaker 2 (19:02):
About the muneral.
Speaker 3 (19:04):
I I guess I heard to go out there and
pick him up. I don't know the place too well.
How do I get there?
Speaker 7 (19:10):
Oh? Just follow this road down about a half mile
out of town. You'll find a dirt cut off. Can't
miss the mailbox. Thanks, say if you miss him. All
I say was asking just tell him his cousin Jim
was here.
Speaker 2 (19:23):
Please.
Speaker 7 (19:24):
Hey, hey, you ain't wearing shoes.
Speaker 2 (19:27):
You you're the one.
Speaker 7 (19:28):
You're the cure.
Speaker 3 (19:32):
Run run, run again. Another alley, blispering pavements, cement, ripping
on the jagged rocks.
Speaker 2 (19:38):
Again.
Speaker 3 (19:39):
Time is running to running out. Benjamin will know where
I'm going out to the main highway. Hans pulled low
and thumb up in the air. Here comes my ride.
He's gotta stop, gotta stop. Please that fun said, Thanks mister,
thanks a lot, welcome, But I'm not gold Power I'm
(20:02):
just going out to the Clovist farm that's about I
know the place. Why are you going there? Now? I'm
a cousin of Kenny's. I'm gonna meet him out there. Oh,
I don't place you. I'm visiting from back east. I'm
not wearing shoes. Yeah, that's a silly thing. I lost
(20:24):
my shoes while waiting barefoot in a stream. Didn't help
my feet any What stream is that? Uh? You know
the one I don't know the name of. It's it's
out there in the woods. Yeah, I think I know
the one. This is the dirt road you want houses
(20:44):
over the rise? Thanks again, see you. I limp up
the rising dirt pass. At the top, I turn for
a look at my ride. He's swinging around towards town.
(21:05):
Benjamin will get to me, and soon an old, two
storied farmhouse rises out of the cleared fields around me.
A big gray barn stands off near the house, and
two old cars are sitting empty behind it. Kenny's got
to come to one of them. I'll wait time. Still
running out and away from me, little shimmering waves of
(21:29):
heat rise off the ten hoods of the cars. Here
he comes now or never?
Speaker 2 (21:39):
Clip trailer.
Speaker 3 (21:40):
I'll break your belt. I want the truth, Kenny, the truth,
if I have to kill you for it. I didn't
kill Rachel. Who did I didn't. I didn't, I didn't.
Speaker 6 (21:51):
You killed her?
Speaker 3 (21:52):
You're crazy jealous? Oh yes, you came to check up,
you found us drunk, and you got wild.
Speaker 2 (21:57):
You killed her.
Speaker 3 (21:58):
I didn't. I approve of it. Prove it.
Speaker 6 (22:01):
There wasn't three minutes between the time I left the
restaurant and the time I called Benjamin. Not enough time
to get up there, kill her and bring you around.
Speaker 3 (22:08):
Three minutes.
Speaker 6 (22:09):
I can prove it. That's all the time you did it.
You have cut hands from her knife. Those hands were
still a round her throat when I came in.
Speaker 2 (22:17):
You killed Rachel.
Speaker 3 (22:22):
And there it is. He isn't lying about the three minutes.
That gloating smirk on his face tells me that I
had killed her. The horror of this afternoon had been
for nothing. I'd tried to save my life. Instead, I'd
proven myself guilty, tied the rope finally, and for all
time around my neck.
Speaker 6 (22:39):
Shoot him. Don't just stand there, suit, he's the man
who kills your daughter.
Speaker 3 (22:48):
He stands there watching the gaunt sliver of a man
with shins and freshly scarred wrists exposed below the edges
of his clothing. A double barrel shotgun has cradled in
his arms, but he just looks at me a while.
Fire striking out of the black pupils of his eyes.
Speaker 2 (23:03):
Shot him. He kills your daughter.
Speaker 3 (23:05):
He killed Rachel, so you're her father. I thought it
was a nickname.
Speaker 5 (23:11):
She was no daughter of mine. She was born to me,
and I named her Rachel from the Bible, but she
was the daughter of Satan.
Speaker 3 (23:21):
I'm sorry, mister Clovis, shoot him.
Speaker 6 (23:23):
Because of him, Rachel is dead.
Speaker 5 (23:25):
She turned away from me, but within me the voice
was strong. I followed her, begging, reading to her from
the book to the place where she lived, where she worked,
but she turned me away with curses.
Speaker 3 (23:41):
I'm sorry.
Speaker 8 (23:43):
I was drunk, crazy in that apartment, the stench of
drink like an evil cloud. You lying drunk with the
devils fever.
Speaker 3 (23:56):
You were there, Shot off your crazy, old fool.
Speaker 8 (23:59):
She took a knife to drive me out. These scars
on my wrist. My lords attacked me, and it came
to me like a voice from on high. I knew
what I must do.
Speaker 2 (24:17):
You killed her.
Speaker 3 (24:18):
It wasn't me, It was you.
Speaker 2 (24:19):
How you did it?
Speaker 6 (24:20):
You couldn't keep her mouth shut.
Speaker 3 (24:21):
You knew he did it. Kenny. You tried to make
me believe that i'd been the one.
Speaker 2 (24:24):
Why Hugh, You.
Speaker 6 (24:28):
And tramps like you, always keeping her from me coming
along every time.
Speaker 3 (24:34):
I couldn't know this, Kenny, you didn't care.
Speaker 6 (24:38):
You laughed at me, made Rachel laugh at me. I
passed the old man when I went up. I knew
as soon as I walked into the room.
Speaker 3 (24:46):
And you tried to blame it on me.
Speaker 6 (24:48):
Why not. It wasn't a crazy old godhu killed her.
Speaker 3 (24:51):
It was you and men like you.
Speaker 6 (24:53):
She would have married me, but you and your.
Speaker 2 (24:55):
Time came along. I hate you. You did kill her.
You'll die for it. Give me the gun, ole man.
Speaker 3 (25:02):
No, no, Kenny, not now.
Speaker 6 (25:05):
Tear around, soldier, turn to see it. What happens?
Speaker 2 (25:11):
Well?
Speaker 9 (25:13):
No, all right, Jefferson, We'll go home now.
Speaker 3 (25:40):
The sun is moving down low in the skies, and
a cool light breeze has come up from somewhere. I'm
leaning back on the front seat besides Benjamin, breathing deeply, evenly,
feeling the goodness of just living. Seat through in the
back seat. Old man Clovis sits staring at and not
(26:01):
even aware of the blanket wrapped body of Kenny lying
on the floor at his feet.
Speaker 2 (26:05):
You hadn't been so eager to run, I could have
saved your feet a lot. Aware. I knew you weren't
a murderer, son, You knew sure. I went back to
the apartment. The old story's there in the varnish on
the kitchen floor. No marks of bare feet around the body,
but lots of hob nailed bootprints. You cut your hand
(26:25):
on broken glass in the living room.
Speaker 3 (26:28):
It bled, and I was running.
Speaker 2 (26:34):
Yeah, he for a man who don't care whether he
lives or dies. You sure got lots of jack rabbit
in your legs. What a day.
Speaker 3 (26:44):
It's been quite a day, Benjamin.
Speaker 2 (26:47):
There's been a scorcher. Ain't it glad to see the
sun going down?
Speaker 6 (26:53):
Uh?
Speaker 2 (26:53):
The day like this, it's almost too hot to live.
Speaker 3 (26:57):
Don't say that, Benjamin. It never gets.
Speaker 10 (27:00):
Saha suspense in which Sam Edwards was starting too hot
(27:31):
to live.
Speaker 1 (27:33):
Next week, the story of a woman who had a
strange visitor, a man who wanted to spend a day
with her, just waiting until her husband got home from work.
So that he could kill him. It's called The Tip
That's Next Week on Suspense. Suspense is produced and directed
(28:04):
by Elliot Lewis, with music composed by Lucian Morrowick and
conducted by lud Gluskin. Too Hot to Live was written
for Suspense by Sam Rawl. In tonight's story, Sam Edwards
was heard as Jefferson and Paul Freese as Benjamin. Featured
in the cast were Mary Jane Croft, Lee Millar, Junius Matthews,
Charles Calvert, Herb Butterfield and Jean Wood and Remember next
(28:28):
Week Carl Abrams play The Tip. The tragic story of
an unidentified boy hit by a car after hitching a
ride on the back of a truck is told tomorrow
(28:49):
night on CBS Radio's twenty first Precinct. Police of the
twenty first Precinct tracked down the boy's identity through his
sweater marked red tigers. Before they'rethrough, even kate hardened cops
have to swallow hard to keep back tears. Don't miss
twenty first Precinct Tomorrow Night. On most of these same stations.
(29:13):
He really clicks against criminals. Crime photographer on the CBS
Radio Network
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