May 6, 2025 • 28 mins
An anthology series specializing in suspenseful stories that keep listeners on the edge of their seats, featuring unexpected twists and turns. The narratives span various genres, all with a tension-filled core.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
The Columbia Network takes pleasure in bringing.
Speaker 2 (00:08):
You suspense.
Speaker 3 (00:28):
Suspense Columbia's play theater of outstanding Thrillers, produced and directed
by William Spear and scored by Bernard Hermann. The notable
melodramas from fiction and stage and screen, from the world's
great literature of entertaining excitement, pres ended each week.
Speaker 2 (00:45):
To bring you to the edge of your chair, to
keep you in suspense.
Speaker 3 (01:00):
Night's Story, by America's distinguished author playwright Owen Johnson, gathers
its suspense in a very gentle way. It doesn't have
a spectacular finish, garnished with revolver shots.
Speaker 4 (01:11):
There are no graveyard watches.
Speaker 3 (01:13):
There's not so much as a single lifeless body, identified
or unidentified. It's a tale told in the clubroom, the
Artists and Writers Club in New York, a tale of
high class robbery and suspicion, and of how some ladies
and gentlemen nervously counted.
Speaker 2 (01:35):
One hundred in the dark.
Speaker 5 (01:44):
Ah, that was a fine meal me for the club.
Speaker 2 (01:48):
Anytime we can all sit your play, you just draw
up that chair for mister Peters.
Speaker 5 (01:53):
Oh yeah, do you all know Peters?
Speaker 2 (01:57):
This is how do you do?
Speaker 3 (02:00):
Yeah? Oh, yes, oh you know each other? Yes, and
the one who drew up the chair, mister Rankin, Well,
I guess, I guess we're all acquainted.
Speaker 2 (02:09):
Now to get back to our table discussion clean here?
Oh yes, yes, how about a drink? Who joined me?
A John?
Speaker 5 (02:20):
Well, now st angle. As I said, there are only
half a dozen stories in the world. What is more
to the point? There's every reason oh five with soda?
Speaker 6 (02:31):
John?
Speaker 2 (02:32):
Yes? Now now where was I?
Speaker 3 (02:35):
Oh?
Speaker 2 (02:35):
Oh yes?
Speaker 5 (02:36):
What is more to the point, gentlemen, is a small
number of human relations that are so simple and yet
so fundamental that they can be eternally played upon, redressed,
and reinterpreted in every language and every age, and yet
remain inexhaustible in the possibility of variation.
Speaker 2 (02:53):
Well, that's true, of course impossible. Take the eternal triangle
two men and a woman, or to him in and
a man.
Speaker 5 (03:01):
It's variations extend the thousands that right Rankon.
Speaker 4 (03:05):
Well in a way.
Speaker 5 (03:07):
Ah, here we are shut them down right there, John, So.
Speaker 2 (03:17):
Here you are, thank you?
Speaker 3 (03:19):
And you.
Speaker 2 (03:22):
So Peter, Yes, please, I know what Here you are?
Speaker 5 (03:30):
Thanks, and here's joy, thank you, and now an episode
in line. Well, here's to you all.
Speaker 4 (03:46):
I'm afraid we can't see ey and eye quinny.
Speaker 1 (03:48):
I believe there are situations, original situations that are independent
of your human emotions, that exist just because they are situations,
accidental and nothing else.
Speaker 2 (03:57):
As for instance, well, I'll.
Speaker 4 (03:59):
Just certain ordinary one that happens to come to my mind.
Speaker 1 (04:02):
In a group of five men, such as we are here,
a theft takes place, one man is the thief? Which one? Now,
I'd like to know what emotion that interprets? And yet
it certainly is an original theme at the bottom.
Speaker 2 (04:16):
Of a whole literature. It's not the same thing at
all detective stories.
Speaker 5 (04:19):
I could answer that the situation you give can be
traced back to the commoness of human emotions. Curiosity, I
think pray has you there, rankin what is the peculiar
fascination that the detective problem exercises over the human minds?
Speaker 2 (04:32):
You will say curiosity, yes and no.
Speaker 5 (04:35):
Admit it once that the whole art of a detective
story consists in the statement.
Speaker 2 (04:39):
Of the problem. Anyone can do it. I can do it.
Stengal can do it. Ran can.
Speaker 5 (04:45):
I believe even you can do it.
Speaker 2 (04:49):
The solution doesn't count. It is usually banal. It should
be prohibited. What interests us is can we get it? There?
Speaker 5 (04:59):
You have it, the problem the detective story. Now why
the fascination? I'll tell you it appeals to our curiosity, Yes,
but deeper, to a sort of intellectual vanity. Five men present,
a theft takes place, Who's a thief? Who will guess
it first? Whose brains will show its superior cleverness?
Speaker 2 (05:17):
You see? That's all. That's all there is to it.
Speaker 3 (05:20):
Out of all of which, the interesting thing is that
Rankin has supplied the reason why the supply of detective
fiction is inexhaustible. It does all come down to the
simplest terms, five possibilities, one answer all.
Speaker 1 (05:33):
The reason is that the situation does constantly occur. It's
a situation that any of us might get into any time.
Speaker 3 (05:39):
Yes, I know of an incident of that kind that
happened to a friend of mine last month.
Speaker 5 (05:42):
Of course, of course, gentlemen, you are glorifying commonplaces. Every
crime I tell you expresses itself in the terms of
the picture puzzle that you feed your six year olds.
Speaker 2 (05:51):
It's only the variation that is interesting.
Speaker 5 (05:53):
I'll take the well known instance of the visitor at
the club than the rare coin. For example, we all
know that story for their own thing. I'm not sure
why it's very well known. Go ahead, quaint time. A
distinguished visitor is brought into a club. A dozen men
say present. At dinner, long table conversation finally veers around
to curiosities and relics. One of the members present then
(06:15):
takes from his pocket what he announces as one of
the rarest coins in existence, passes it around the table.
Speaker 2 (06:22):
Coin travels back and forth, everyone examining it, and the
conversation goes to another topic.
Speaker 5 (06:28):
All at once. The owner calls for his coin. It
is nowhere to be found. Everyone looks at everyone else.
First they suspect a joke, Then it becomes serious. The
coin is immensely valuable. Who has taken it? The owner
is a gentleman, does the gentlemanly idiotic thing, of course,
laughs as he knows someone is paying a practical joke
(06:49):
on him and that the coin will be returned tomorrow.
The others refuse to leave the situation, so one man
proposes that they all submit to a search. Everyone gives
a sent until it comes to the stranger. He refuses curtly, roughly,
without giving any reason. Uncomfortable silence The man is a guest.
(07:10):
No one knows him particularly well, but still he is
a guest. One member tries to make him understand that
no offense is offered, that the suggestion was simply to
clear the atmosphere. The stranger becomes very firm, very proud,
and says, I refuse to allow my person to be searched,
and I refuse to give the reason for my action.
(07:30):
Another silence. The visitor evidently has the coin, but he
is their guest, and Etica protects him. Nice situation, Eh, well,
what's the answer?
Speaker 2 (07:43):
The table is cleared, a way.
Speaker 5 (07:45):
To remove the dish of fruit in there under the
ledge of the plate where it's been pushed is the coin.
Banal explanation, eh, of course, solutions always should be at
once everyone apologizes to him. Whereupon the visitor rises and says,
now I can give you the reason for my refusal
to be searched. There are only two known specimens of
(08:05):
that coin in existence, and the second happens to be
here in my best pocket.
Speaker 2 (08:10):
That's rather obvious. Of course.
Speaker 5 (08:12):
The story is well invented, but the turn to it
is very nice, very nice.
Speaker 2 (08:17):
Indeed, well, I don't know. Ending is very unsatisfactory. Visitors
should have hit.
Speaker 5 (08:22):
On him, not another coin, but something absolutely different, something distractive,
say of a woman's reputation, and a great tragedy should
have been threatened by the casual misplacing of the coin.
Speaker 4 (08:35):
Well, I've heard the same story told in a dozen
different ways.
Speaker 5 (08:37):
Oh, it's happened a hundred times. It must continually happen.
I know of one extraordinary instance, in fact, the most
extraordinary instance of this sort I ever heard.
Speaker 2 (08:47):
Peter's you Rascal.
Speaker 5 (08:49):
I see you've been quietly letting us at the stage
for you. Well, it's not a story that will please everyone.
Why not, because you will want to know what no
one can ever know.
Speaker 2 (09:00):
It has no conclusion. Then, yes and no.
Speaker 5 (09:03):
As far as it concerns a woman, quite the most
remarkable woman I've ever met, the story is complete.
Speaker 2 (09:08):
Er do I know the woman? Possibly? Probably, I should say.
Speaker 5 (09:13):
As a matter of fact, there should be particularly interesting
to you, because I believe that most of you are
acquainted with the people involved. The names, of course, are disguised.
I think, yes, I have just time before I catch
my train.
Speaker 2 (09:26):
To tell it to you.
Speaker 5 (09:31):
Missus, Well, missus rita killdare inhabited a charming bachelor girl's studio,
very elegant with the duplex pattern and one of the
buildings just.
Speaker 2 (09:41):
Off Central Park West. She knew very nearly everyone in.
Speaker 5 (09:44):
That indescribable society in New York that's drawn from all levels,
and that imposes but one condition for membership. To be
amusing in this mingled society, her invitations were eagerly sought,
her dinners were spontaneous, and the discussion, as though gay
and usually daring, were invariably under the control of wit
and good taste. On Sunday night of this adventure, she had,
(10:08):
according to her custom, sent away her Filipino butfa and
invited to an informal chasing the supper seven of her
more unusual friends at seven o'clock. Having finished dressing, she
put in order her bedroom, which formed a sort of
free passage between the studio and a small.
Speaker 2 (10:26):
Dining room to the kitchen beyond.
Speaker 5 (10:29):
Then going into the studio, she struck a match and
was about to light the candlesticks, which illuminated the room,
and the bell rang, and a mister Flanders, a broker, compact,
nervously alive, well groomed, was waiting as she opened the door.
Speaker 2 (10:45):
Well you're early. On the contrary, you are late.
Speaker 6 (10:49):
Well in any case, hello, and come inside here, let
me take your.
Speaker 2 (10:54):
Things, and the first I suppose, of.
Speaker 6 (10:58):
Course, And since you are, you could be a good
boy and help me with the Candle's delighted?
Speaker 2 (11:06):
Who's to be here tonight? The Enus Jacksons? I thought
they were separated? Not yet?
Speaker 5 (11:12):
Oh interesting, Only you, dear lady, would dream of serving
us a couple on the verge.
Speaker 2 (11:17):
It is interesting, isn't he? Assuredly? Where did you know Jackson?
Speaker 6 (11:21):
Through the wearings? Jackson's a rather doubtful person, isn't he?
Speaker 5 (11:26):
Well, let's call him a very sharp lawyer? Did they
tell me though? He's been gambling pretty much?
Speaker 2 (11:32):
Indeed? How about yourself?
Speaker 5 (11:34):
Me?
Speaker 2 (11:35):
I'm a bachelor. If I lose my shirt, it makes
no difference. Is that possible? Probably? Even who else is coming?
Speaker 6 (11:43):
Oh, maud Lily, you know what?
Speaker 2 (11:45):
I don't think?
Speaker 6 (11:46):
So you met here some time ago a journal?
Speaker 2 (11:48):
Oh yes, yes, of course I've forgotten.
Speaker 6 (11:50):
Mister Harris. The clubman is coming, and the Stanley Chievers.
Speaker 2 (11:52):
Stanley Chievers, are we going to gamble?
Speaker 5 (11:55):
Don't tell me you objected? Certainly, not only the Chievers,
They play quite a game. Yes, while united, they have
an unusual streak of good luck. Oh, by the way,
it's Jackson, isn't it who is so attractive to missus cheaper?
Speaker 6 (12:13):
Right?
Speaker 2 (12:13):
What a charming party? Where does mort Lily come in?
Speaker 6 (12:17):
Don't joke, she's in a desperate way. And John Harris, Oh,
he used to make the salad and crean the chicken.
Speaker 5 (12:24):
See the whole party, I, of course am to wear
the element of respectability.
Speaker 6 (12:27):
Of course, don't play baby with me, my.
Speaker 5 (12:30):
Dear Flanders, I apologize. No one, of course knows who
else is coming.
Speaker 6 (12:36):
No one, of course.
Speaker 5 (12:44):
The Stanley cheever centered, short fat man with a vacant,
fat face and slow moving eye, and his wife, voluble, nervous,
over dressed and pretty.
Speaker 2 (12:55):
Mister guess mister Harris came in.
Speaker 5 (12:58):
With Mortally, a woman mass straight, dark Indian great masses
of somber hair, held in a little too loosely for neatness,
with thick, quick lips and eyes that rolled away.
Speaker 2 (13:11):
From the person who was talking to her.
Speaker 5 (13:13):
The Enos Jacksons were late and still agitated as they entered.
His forehead had not quite banished the scowl, nor her
eyes the scorn. He was of the type that never
lost his temper but caused others to lose theirs, and
missus Jackson seemed fastened to her husband by an invisible leash.
He looked at her curiously and wondered what such a
(13:34):
nature would do in a crisis, with a lurking sense
of a woman who carried with her her own impending tragedy.
As soon as the company had been completed and the
incongruity of the selection had been perceived, a smile of
malicious anticipation ran.
Speaker 2 (13:52):
The rounds, which the hostess cut short by saying.
Speaker 6 (13:55):
Well, well, now that everyone's here, this is the order
for the night. You can form all you want, You
can whisper all the gossip you can think of about
one another, but everyone is to be amusing. Also, everyone
is to help with dinner, and nothing formal and serious.
We may all be bankrupt, divorced or dead tomorrow, but
tonight we'll be gay. That's the invariable rule.
Speaker 3 (14:17):
Of the house.
Speaker 6 (14:38):
Oh thanks everyone.
Speaker 7 (14:40):
Now, if you excuse me, I'll get on with the cooking.
Speaker 8 (14:43):
Harris, I need you, May I be a very little.
Speaker 7 (14:45):
Thank you, my dear, I come along too, all right,
this is.
Speaker 2 (14:56):
An adorable bedroom.
Speaker 6 (14:57):
Oh, thank you dear. Now my apron that is tiny
of the bag.
Speaker 3 (15:04):
You please, Maud?
Speaker 2 (15:05):
Of course, there you are. Time.
Speaker 6 (15:08):
Thanks Now, just let me get my rings.
Speaker 2 (15:10):
Off and I'll be all ready to go to work.
Speaker 6 (15:12):
Oh, this is such a loveli apartment to peel their things.
Soap and water always seem to do it. Ah, there,
your rings are.
Speaker 2 (15:21):
So beautiful, they are nice. I fay.
Speaker 6 (15:24):
There's only one that's very valuable, the sapphire.
Speaker 2 (15:26):
Oh it's beautiful. Let me see.
Speaker 6 (15:29):
Oh what must be very valuable if it costs ten thousand,
six years ago, it's been my talisman ever since.
Speaker 2 (15:36):
For the moment.
Speaker 6 (15:36):
However, I'm a cook.
Speaker 2 (15:38):
We're not going to leave the rings there?
Speaker 6 (15:39):
Why, of course, now I'm a cook, Maud.
Speaker 7 (15:42):
Really, you're the storymade.
Speaker 6 (15:43):
Carrons is a chef and we're all under his orders.
Missus Cheever, did you have a peel onions or with heavens?
Speaker 2 (15:50):
No, well, there's no onions peel.
Speaker 6 (15:53):
All you have to do is help cut the tables.
Speaker 5 (16:00):
Under their hostess's gay guidance, the seven guests began to
circulate busily through the room, laying the table, grouping the chairs,
opening bottles, and preparing the material to the chaping dishes.
Missus Kildare in the kitchen, ransacked the ice box and
with her own hands shredded the chicken and measured the
cream planned it.
Speaker 6 (16:21):
Carried this in carefully, GiB her stop watching your wife,
and put the salad ball on the table and put
everything ready. Harris, also, all right, everyone sit down, I'll
be rid here.
Speaker 5 (16:36):
She went into her bedroom, took off her apron and
hung it in the closet. Then, going to a dressing table,
she drew the hatpin around which were her rings from
the pincushion, and carelessly slipped them on her fingers. But
all at once she frowned and looked quickly at her hand.
Only two rings were there. The third ring, the sapphire,
(17:00):
was missing. Stupor, she said to herself, and returned to
a dressing table. Immediately she stopped, she remembered quite clearly
putting the hat pin through the three rings.
Speaker 2 (17:13):
She made no attempt to search further.
Speaker 5 (17:15):
But remained without moving her fingers, slowly drumming on the table.
Speaker 2 (17:20):
Who had taken the ring?
Speaker 5 (17:22):
Each of her guests had had a dozen opportunities in
the course of the time she'd been busy in the kitchen,
she ran over their characters and their situations as she
knew them. Strangely enough, at each her mind stopped upon
some reason that might explain a sudden temptation.
Speaker 2 (17:39):
To find out nothing this way.
Speaker 6 (17:41):
That's not the important thing to me just now.
Speaker 2 (17:44):
Important thing is to get the ring back.
Speaker 3 (17:47):
And slowly, deliberately, she began to walk back and forth,
her clenched hand beating the deliberate rhythmic measure of her journey.
Five minutes later, as Harris install the chef over the
chafing dish, was giving directions school in the air, missus
Kildare came into the room like a lengthening shadow.
Speaker 5 (18:08):
Her entrance had been made with scarcely a perceptible sound,
and yet each guest was aware of it at the
same moment, with a little nervous start. Heaven's, Heaven's, dear lady,
you come in on us like a Greek tragedy.
Speaker 2 (18:23):
What is it you have for us? A surprise?
Speaker 6 (18:26):
I have something to say to you, mister enos Jackson. Yes,
Miss kilderkindly, do as I ask you, certainly, go to
the door. Go to the door, please, yes, lock.
Speaker 2 (18:43):
It and bring me the key.
Speaker 6 (18:50):
You've locked it as you wish me to thank you
now the bedroom door. Would you do the same, thank you,
mister Jackson, mister Cheever, eh, would you blow out all
(19:11):
the candles except the candlelabra on the table. Blow out
all the candles except the candlelabra. All right, for goodness,
since missus kildare, what is it?
Speaker 2 (19:24):
I am getting to be worked up by my room.
All Jackson, that's the last candle?
Speaker 4 (19:32):
All right.
Speaker 6 (19:34):
Now, listen, my sapphire ring has just been stolen. The
ring has been taken within the last twenty minutes. I'm
not going to mince words. The ring has been taken
and the thief is among yours. But missus Kilby, Missus Cheever,
is not the slightest doubt. Three of you are in
(19:55):
the bedroom when I placed my rings with a pin cushion.
Speaker 8 (19:57):
Quite true, I was in the room when she took
them off, the sapphire ring on top. Each of you
has passed through there a dozen times since my sapphire
ring is gone, and one of you has taken it.
Speaker 6 (20:08):
Everything I want to know, I'm not going to miss words,
I'm not going to stand on ceremony, but I'm going
to have my ring back. Listen, to me carefully. I'm
going to have that ring back, and until I do,
not a soul shall leave this room. I don't care's
taken it. All I want is my ring. Now, I'm
(20:33):
going to make it possible for whoever took it to
restore it without possibility of detection.
Speaker 2 (20:37):
The doors are locked and will stay locked.
Speaker 6 (20:40):
I'm going to blow out the remaining candles in the candelabra,
and I'm going to count one hundred slowly. It will
be an absolute darkness. No one will know or see
what's done. But if at the end of that time
the ring is not here on the table, I shall
telephone the police and have everyone in this room searched.
(21:00):
Am I the fight here. Everyone takes place about the
table and remains standing.
Speaker 2 (21:07):
Please, that's it, then, do now.
Speaker 6 (21:12):
I'll blow out the candles and count one hundred, no more,
no less. Remember either I get that ring or everyone
in this room will be searched. One two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen, sixteen, seventeen, eighteen, eighteen, twenty,
(22:02):
twenty one, twenty two, twenty three, twenty four, twenty five,
thirty six, thirty seven thirty eight, twenty nine, thirty, thirty one,
seventy two, thirty three, sety four, seventy five, thirty six,
(22:27):
seventy seven, thirty eighty nine, forty, forty one, forty two,
forty three, forty.
Speaker 4 (22:39):
Four or five pots left off the chai, forty.
Speaker 6 (22:43):
Seven, forty eight, forty nine, fifty fifty one, fifty two,
fifty three, fifty four, sixty five, fifty six, fifty seven,
fifty eighty nine, sixty, sixty one, sixty two, sixty three,
(23:06):
sixty four, sixty five, sixty six, sixty seven, sixty eight,
sixty nine, seventy, seventy one, seventy two, seventy three, seventy four,
seventy five, seventy six, seventy seven, seventy eight, seventy nine, eighty,
(23:30):
eighty one, eighty two, eighty three, eighty four, eighty five,
eighty six, eighty seven, sixteen, eighty nine, ninety ninety one,
ninety two, ninety three, ninety four, ninety five, ninety six,
(23:53):
ninety seven, ninety eight, ninety nine, one hundred. You may
hand it to me. Well, now does that silver? We
(24:14):
can have a very gay little supper the night someone.
Speaker 5 (24:22):
And there you are, gentlemen, oh, I say, Peter's that's
not all. Absolutely the story ends there, story ends there.
Speaker 2 (24:29):
But the who to the ring? Ah, it is never
found out, never, no clue none. I'm not sure I
like the story.
Speaker 4 (24:38):
That's no story at all.
Speaker 2 (24:40):
Formit me. It is a story, and it is complete.
Speaker 5 (24:43):
In fact, I consider it unique because it has none
of the banalities of a solution, and leaves the problem
even more confused than at the start. Irse, you don't see,
my dear kin, You do not see that any solution
would be come in place. Whereas no solution leaves an
extraordinary intellect true problem. Well in the first place, whether
the situation actually happened or not, which is in itself
(25:06):
a mireatriviality. Peters has constructed it in a masterly way,
the proof of which is that he has made me listen.
Speaker 2 (25:13):
Any of those present might have taken the ring.
Speaker 5 (25:16):
There are therefore seven solutions, all possible and all logical.
But beyond this is left a great intellectual problem. So
was it a woman who lacked the necessary courage to continue?
Or was it a man who repented his first impulse?
Is a man or is a woman the greater natural criminal?
Speaker 4 (25:35):
All that's simple Quinny. The woman tug.
Speaker 2 (25:37):
Of course, on the contrary, was.
Speaker 5 (25:39):
A man, for the second action was more difficult than
the first. A man certainly, the restoration of the ring
was a logical decision.
Speaker 2 (25:45):
You see.
Speaker 5 (25:47):
Personally, I inclined to a woman for the reason that
a weaker feminine nature is strangely susceptible to the domination.
Speaker 2 (25:53):
Of her own sex. There you are. We could meet
and debate the subject year in and year out and
never agree.
Speaker 3 (25:59):
I recognize most of the characters. Peters, this is killed there,
of course, is all you say of her. An extraordinary woman.
The story is quite characteristic. Cover Flanders, I'm not sure
of but I think I know him.
Speaker 5 (26:12):
I'm positive did it really happen exactly as I told it.
Speaker 2 (26:16):
The only one I don't recognize is Harris, your humble servant.
But you Peters, you were there. I was there, I
was Harris. Oh yes, what is it?
Speaker 3 (26:33):
John?
Speaker 2 (26:34):
Mister Peters saw your train? Who told me to remind you? Oh?
Thank you?
Speaker 5 (26:38):
Yes, I hadn't notice so late, you gentlemen. Pardon me,
Nice to meet you all night.
Speaker 1 (26:51):
Curious chap an extraordinary Oh now, I.
Speaker 9 (26:56):
I wonder, I wonder if we're wondering the same thing, gentlemen,
and so, with the enigmatic smile of mister Peters or
Harris ends one hundred in the dark.
Speaker 4 (27:19):
Owen Johnson's smooth story which.
Speaker 2 (27:21):
Gave us to Night's Suspense. Suspense is produced by William Spear.
Tonight's radio drama was written by Jack.
Speaker 3 (27:32):
Andson Fink, directed by John Diets, and scored by Bernard Hermann.
Eric Dressler was mister Peters, Alice Frost played Missus Kildare,
and Ted Osborne Quinny.
Speaker 4 (27:44):
Others in the.
Speaker 3 (27:44):
Cast were Helen Lewis, Joan Shay, Henriette Kay, Frank Reddick, Paul.
Speaker 2 (27:50):
Luther, Stephen Schnabel, Ian Martin, and Barry Kroger.
Speaker 3 (27:54):
With this Evening's performance, Columbia brings to a conclusion the
present series of Suspense.
Speaker 2 (28:00):
Like these broadcasts, CBS would be pleased to hear from you.
Speaker 4 (28:03):
Suspense has been a series
Speaker 3 (28:05):
Presented for your relaxation and enjoyment by the Columbia Broadcasting System.
The Columbia Network takes pleasure in bringing.
Speaker 2 (00:08):
You suspense.
Speaker 3 (00:28):
Suspense Columbia's play theater of outstanding Thrillers, produced and directed
by William Spear and scored by Bernard Hermann. The notable
melodramas from fiction and stage and screen, from the world's
great literature of entertaining excitement, pres ended each week.
Speaker 2 (00:45):
To bring you to the edge of your chair, to
keep you in suspense.
Speaker 3 (01:00):
Night's Story, by America's distinguished author playwright Owen Johnson, gathers
its suspense in a very gentle way. It doesn't have
a spectacular finish, garnished with revolver shots.
Speaker 4 (01:11):
There are no graveyard watches.
Speaker 3 (01:13):
There's not so much as a single lifeless body, identified
or unidentified. It's a tale told in the clubroom, the
Artists and Writers Club in New York, a tale of
high class robbery and suspicion, and of how some ladies
and gentlemen nervously counted.
Speaker 2 (01:35):
One hundred in the dark.
Speaker 5 (01:44):
Ah, that was a fine meal me for the club.
Speaker 2 (01:48):
Anytime we can all sit your play, you just draw
up that chair for mister Peters.
Speaker 5 (01:53):
Oh yeah, do you all know Peters?
Speaker 2 (01:57):
This is how do you do?
Speaker 3 (02:00):
Yeah? Oh, yes, oh you know each other? Yes, and
the one who drew up the chair, mister Rankin, Well,
I guess, I guess we're all acquainted.
Speaker 2 (02:09):
Now to get back to our table discussion clean here?
Oh yes, yes, how about a drink? Who joined me?
A John?
Speaker 5 (02:20):
Well, now st angle. As I said, there are only
half a dozen stories in the world. What is more
to the point? There's every reason oh five with soda?
Speaker 6 (02:31):
John?
Speaker 2 (02:32):
Yes? Now now where was I?
Speaker 3 (02:35):
Oh?
Speaker 2 (02:35):
Oh yes?
Speaker 5 (02:36):
What is more to the point, gentlemen, is a small
number of human relations that are so simple and yet
so fundamental that they can be eternally played upon, redressed,
and reinterpreted in every language and every age, and yet
remain inexhaustible in the possibility of variation.
Speaker 2 (02:53):
Well, that's true, of course impossible. Take the eternal triangle
two men and a woman, or to him in and
a man.
Speaker 5 (03:01):
It's variations extend the thousands that right Rankon.
Speaker 4 (03:05):
Well in a way.
Speaker 5 (03:07):
Ah, here we are shut them down right there, John, So.
Speaker 2 (03:17):
Here you are, thank you?
Speaker 3 (03:19):
And you.
Speaker 2 (03:22):
So Peter, Yes, please, I know what Here you are?
Speaker 5 (03:30):
Thanks, and here's joy, thank you, and now an episode
in line. Well, here's to you all.
Speaker 4 (03:46):
I'm afraid we can't see ey and eye quinny.
Speaker 1 (03:48):
I believe there are situations, original situations that are independent
of your human emotions, that exist just because they are situations,
accidental and nothing else.
Speaker 2 (03:57):
As for instance, well, I'll.
Speaker 4 (03:59):
Just certain ordinary one that happens to come to my mind.
Speaker 1 (04:02):
In a group of five men, such as we are here,
a theft takes place, one man is the thief? Which one? Now,
I'd like to know what emotion that interprets? And yet
it certainly is an original theme at the bottom.
Speaker 2 (04:16):
Of a whole literature. It's not the same thing at
all detective stories.
Speaker 5 (04:19):
I could answer that the situation you give can be
traced back to the commoness of human emotions. Curiosity, I
think pray has you there, rankin what is the peculiar
fascination that the detective problem exercises over the human minds?
Speaker 2 (04:32):
You will say curiosity, yes and no.
Speaker 5 (04:35):
Admit it once that the whole art of a detective
story consists in the statement.
Speaker 2 (04:39):
Of the problem. Anyone can do it. I can do it.
Stengal can do it. Ran can.
Speaker 5 (04:45):
I believe even you can do it.
Speaker 2 (04:49):
The solution doesn't count. It is usually banal. It should
be prohibited. What interests us is can we get it? There?
Speaker 5 (04:59):
You have it, the problem the detective story. Now why
the fascination? I'll tell you it appeals to our curiosity, Yes,
but deeper, to a sort of intellectual vanity. Five men present,
a theft takes place, Who's a thief? Who will guess
it first? Whose brains will show its superior cleverness?
Speaker 2 (05:17):
You see? That's all. That's all there is to it.
Speaker 3 (05:20):
Out of all of which, the interesting thing is that
Rankin has supplied the reason why the supply of detective
fiction is inexhaustible. It does all come down to the
simplest terms, five possibilities, one answer all.
Speaker 1 (05:33):
The reason is that the situation does constantly occur. It's
a situation that any of us might get into any time.
Speaker 3 (05:39):
Yes, I know of an incident of that kind that
happened to a friend of mine last month.
Speaker 5 (05:42):
Of course, of course, gentlemen, you are glorifying commonplaces. Every
crime I tell you expresses itself in the terms of
the picture puzzle that you feed your six year olds.
Speaker 2 (05:51):
It's only the variation that is interesting.
Speaker 5 (05:53):
I'll take the well known instance of the visitor at
the club than the rare coin. For example, we all
know that story for their own thing. I'm not sure
why it's very well known. Go ahead, quaint time. A
distinguished visitor is brought into a club. A dozen men
say present. At dinner, long table conversation finally veers around
to curiosities and relics. One of the members present then
(06:15):
takes from his pocket what he announces as one of
the rarest coins in existence, passes it around the table.
Speaker 2 (06:22):
Coin travels back and forth, everyone examining it, and the
conversation goes to another topic.
Speaker 5 (06:28):
All at once. The owner calls for his coin. It
is nowhere to be found. Everyone looks at everyone else.
First they suspect a joke, Then it becomes serious. The
coin is immensely valuable. Who has taken it? The owner
is a gentleman, does the gentlemanly idiotic thing, of course,
laughs as he knows someone is paying a practical joke
(06:49):
on him and that the coin will be returned tomorrow.
The others refuse to leave the situation, so one man
proposes that they all submit to a search. Everyone gives
a sent until it comes to the stranger. He refuses curtly, roughly,
without giving any reason. Uncomfortable silence The man is a guest.
(07:10):
No one knows him particularly well, but still he is
a guest. One member tries to make him understand that
no offense is offered, that the suggestion was simply to
clear the atmosphere. The stranger becomes very firm, very proud,
and says, I refuse to allow my person to be searched,
and I refuse to give the reason for my action.
(07:30):
Another silence. The visitor evidently has the coin, but he
is their guest, and Etica protects him. Nice situation, Eh, well,
what's the answer?
Speaker 2 (07:43):
The table is cleared, a way.
Speaker 5 (07:45):
To remove the dish of fruit in there under the
ledge of the plate where it's been pushed is the coin.
Banal explanation, eh, of course, solutions always should be at
once everyone apologizes to him. Whereupon the visitor rises and says,
now I can give you the reason for my refusal
to be searched. There are only two known specimens of
(08:05):
that coin in existence, and the second happens to be
here in my best pocket.
Speaker 2 (08:10):
That's rather obvious. Of course.
Speaker 5 (08:12):
The story is well invented, but the turn to it
is very nice, very nice.
Speaker 2 (08:17):
Indeed, well, I don't know. Ending is very unsatisfactory. Visitors
should have hit.
Speaker 5 (08:22):
On him, not another coin, but something absolutely different, something distractive,
say of a woman's reputation, and a great tragedy should
have been threatened by the casual misplacing of the coin.
Speaker 4 (08:35):
Well, I've heard the same story told in a dozen
different ways.
Speaker 5 (08:37):
Oh, it's happened a hundred times. It must continually happen.
I know of one extraordinary instance, in fact, the most
extraordinary instance of this sort I ever heard.
Speaker 2 (08:47):
Peter's you Rascal.
Speaker 5 (08:49):
I see you've been quietly letting us at the stage
for you. Well, it's not a story that will please everyone.
Why not, because you will want to know what no
one can ever know.
Speaker 2 (09:00):
It has no conclusion. Then, yes and no.
Speaker 5 (09:03):
As far as it concerns a woman, quite the most
remarkable woman I've ever met, the story is complete.
Speaker 2 (09:08):
Er do I know the woman? Possibly? Probably, I should say.
Speaker 5 (09:13):
As a matter of fact, there should be particularly interesting
to you, because I believe that most of you are
acquainted with the people involved. The names, of course, are disguised.
I think, yes, I have just time before I catch
my train.
Speaker 2 (09:26):
To tell it to you.
Speaker 5 (09:31):
Missus, Well, missus rita killdare inhabited a charming bachelor girl's studio,
very elegant with the duplex pattern and one of the
buildings just.
Speaker 2 (09:41):
Off Central Park West. She knew very nearly everyone in.
Speaker 5 (09:44):
That indescribable society in New York that's drawn from all levels,
and that imposes but one condition for membership. To be
amusing in this mingled society, her invitations were eagerly sought,
her dinners were spontaneous, and the discussion, as though gay
and usually daring, were invariably under the control of wit
and good taste. On Sunday night of this adventure, she had,
(10:08):
according to her custom, sent away her Filipino butfa and
invited to an informal chasing the supper seven of her
more unusual friends at seven o'clock. Having finished dressing, she
put in order her bedroom, which formed a sort of
free passage between the studio and a small.
Speaker 2 (10:26):
Dining room to the kitchen beyond.
Speaker 5 (10:29):
Then going into the studio, she struck a match and
was about to light the candlesticks, which illuminated the room,
and the bell rang, and a mister Flanders, a broker, compact,
nervously alive, well groomed, was waiting as she opened the door.
Speaker 2 (10:45):
Well you're early. On the contrary, you are late.
Speaker 6 (10:49):
Well in any case, hello, and come inside here, let
me take your.
Speaker 2 (10:54):
Things, and the first I suppose, of.
Speaker 6 (10:58):
Course, And since you are, you could be a good
boy and help me with the Candle's delighted?
Speaker 2 (11:06):
Who's to be here tonight? The Enus Jacksons? I thought
they were separated? Not yet?
Speaker 5 (11:12):
Oh interesting, Only you, dear lady, would dream of serving
us a couple on the verge.
Speaker 2 (11:17):
It is interesting, isn't he? Assuredly? Where did you know Jackson?
Speaker 6 (11:21):
Through the wearings? Jackson's a rather doubtful person, isn't he?
Speaker 5 (11:26):
Well, let's call him a very sharp lawyer? Did they
tell me though? He's been gambling pretty much?
Speaker 2 (11:32):
Indeed? How about yourself?
Speaker 5 (11:34):
Me?
Speaker 2 (11:35):
I'm a bachelor. If I lose my shirt, it makes
no difference. Is that possible? Probably? Even who else is coming?
Speaker 6 (11:43):
Oh, maud Lily, you know what?
Speaker 2 (11:45):
I don't think?
Speaker 6 (11:46):
So you met here some time ago a journal?
Speaker 2 (11:48):
Oh yes, yes, of course I've forgotten.
Speaker 6 (11:50):
Mister Harris. The clubman is coming, and the Stanley Chievers.
Speaker 2 (11:52):
Stanley Chievers, are we going to gamble?
Speaker 5 (11:55):
Don't tell me you objected? Certainly, not only the Chievers,
They play quite a game. Yes, while united, they have
an unusual streak of good luck. Oh, by the way,
it's Jackson, isn't it who is so attractive to missus cheaper?
Speaker 6 (12:13):
Right?
Speaker 2 (12:13):
What a charming party? Where does mort Lily come in?
Speaker 6 (12:17):
Don't joke, she's in a desperate way. And John Harris, Oh,
he used to make the salad and crean the chicken.
Speaker 5 (12:24):
See the whole party, I, of course am to wear
the element of respectability.
Speaker 6 (12:27):
Of course, don't play baby with me, my.
Speaker 5 (12:30):
Dear Flanders, I apologize. No one, of course knows who
else is coming.
Speaker 6 (12:36):
No one, of course.
Speaker 5 (12:44):
The Stanley cheever centered, short fat man with a vacant,
fat face and slow moving eye, and his wife, voluble, nervous,
over dressed and pretty.
Speaker 2 (12:55):
Mister guess mister Harris came in.
Speaker 5 (12:58):
With Mortally, a woman mass straight, dark Indian great masses
of somber hair, held in a little too loosely for neatness,
with thick, quick lips and eyes that rolled away.
Speaker 2 (13:11):
From the person who was talking to her.
Speaker 5 (13:13):
The Enos Jacksons were late and still agitated as they entered.
His forehead had not quite banished the scowl, nor her
eyes the scorn. He was of the type that never
lost his temper but caused others to lose theirs, and
missus Jackson seemed fastened to her husband by an invisible leash.
He looked at her curiously and wondered what such a
(13:34):
nature would do in a crisis, with a lurking sense
of a woman who carried with her her own impending tragedy.
As soon as the company had been completed and the
incongruity of the selection had been perceived, a smile of
malicious anticipation ran.
Speaker 2 (13:52):
The rounds, which the hostess cut short by saying.
Speaker 6 (13:55):
Well, well, now that everyone's here, this is the order
for the night. You can form all you want, You
can whisper all the gossip you can think of about
one another, but everyone is to be amusing. Also, everyone
is to help with dinner, and nothing formal and serious.
We may all be bankrupt, divorced or dead tomorrow, but
tonight we'll be gay. That's the invariable rule.
Speaker 3 (14:17):
Of the house.
Speaker 6 (14:38):
Oh thanks everyone.
Speaker 7 (14:40):
Now, if you excuse me, I'll get on with the cooking.
Speaker 8 (14:43):
Harris, I need you, May I be a very little.
Speaker 7 (14:45):
Thank you, my dear, I come along too, all right,
this is.
Speaker 2 (14:56):
An adorable bedroom.
Speaker 6 (14:57):
Oh, thank you dear. Now my apron that is tiny
of the bag.
Speaker 3 (15:04):
You please, Maud?
Speaker 2 (15:05):
Of course, there you are. Time.
Speaker 6 (15:08):
Thanks Now, just let me get my rings.
Speaker 2 (15:10):
Off and I'll be all ready to go to work.
Speaker 6 (15:12):
Oh, this is such a loveli apartment to peel their things.
Soap and water always seem to do it. Ah, there,
your rings are.
Speaker 2 (15:21):
So beautiful, they are nice. I fay.
Speaker 6 (15:24):
There's only one that's very valuable, the sapphire.
Speaker 2 (15:26):
Oh it's beautiful. Let me see.
Speaker 6 (15:29):
Oh what must be very valuable if it costs ten thousand,
six years ago, it's been my talisman ever since.
Speaker 2 (15:36):
For the moment.
Speaker 6 (15:36):
However, I'm a cook.
Speaker 2 (15:38):
We're not going to leave the rings there?
Speaker 6 (15:39):
Why, of course, now I'm a cook, Maud.
Speaker 7 (15:42):
Really, you're the storymade.
Speaker 6 (15:43):
Carrons is a chef and we're all under his orders.
Missus Cheever, did you have a peel onions or with heavens?
Speaker 2 (15:50):
No, well, there's no onions peel.
Speaker 6 (15:53):
All you have to do is help cut the tables.
Speaker 5 (16:00):
Under their hostess's gay guidance, the seven guests began to
circulate busily through the room, laying the table, grouping the chairs,
opening bottles, and preparing the material to the chaping dishes.
Missus Kildare in the kitchen, ransacked the ice box and
with her own hands shredded the chicken and measured the
cream planned it.
Speaker 6 (16:21):
Carried this in carefully, GiB her stop watching your wife,
and put the salad ball on the table and put
everything ready. Harris, also, all right, everyone sit down, I'll
be rid here.
Speaker 5 (16:36):
She went into her bedroom, took off her apron and
hung it in the closet. Then, going to a dressing table,
she drew the hatpin around which were her rings from
the pincushion, and carelessly slipped them on her fingers. But
all at once she frowned and looked quickly at her hand.
Only two rings were there. The third ring, the sapphire,
(17:00):
was missing. Stupor, she said to herself, and returned to
a dressing table. Immediately she stopped, she remembered quite clearly
putting the hat pin through the three rings.
Speaker 2 (17:13):
She made no attempt to search further.
Speaker 5 (17:15):
But remained without moving her fingers, slowly drumming on the table.
Speaker 2 (17:20):
Who had taken the ring?
Speaker 5 (17:22):
Each of her guests had had a dozen opportunities in
the course of the time she'd been busy in the kitchen,
she ran over their characters and their situations as she
knew them. Strangely enough, at each her mind stopped upon
some reason that might explain a sudden temptation.
Speaker 2 (17:39):
To find out nothing this way.
Speaker 6 (17:41):
That's not the important thing to me just now.
Speaker 2 (17:44):
Important thing is to get the ring back.
Speaker 3 (17:47):
And slowly, deliberately, she began to walk back and forth,
her clenched hand beating the deliberate rhythmic measure of her journey.
Five minutes later, as Harris install the chef over the
chafing dish, was giving directions school in the air, missus
Kildare came into the room like a lengthening shadow.
Speaker 5 (18:08):
Her entrance had been made with scarcely a perceptible sound,
and yet each guest was aware of it at the
same moment, with a little nervous start. Heaven's, Heaven's, dear lady,
you come in on us like a Greek tragedy.
Speaker 2 (18:23):
What is it you have for us? A surprise?
Speaker 6 (18:26):
I have something to say to you, mister enos Jackson. Yes,
Miss kilderkindly, do as I ask you, certainly, go to
the door. Go to the door, please, yes, lock.
Speaker 2 (18:43):
It and bring me the key.
Speaker 6 (18:50):
You've locked it as you wish me to thank you
now the bedroom door. Would you do the same, thank you,
mister Jackson, mister Cheever, eh, would you blow out all
(19:11):
the candles except the candlelabra on the table. Blow out
all the candles except the candlelabra. All right, for goodness,
since missus kildare, what is it?
Speaker 2 (19:24):
I am getting to be worked up by my room.
All Jackson, that's the last candle?
Speaker 4 (19:32):
All right.
Speaker 6 (19:34):
Now, listen, my sapphire ring has just been stolen. The
ring has been taken within the last twenty minutes. I'm
not going to mince words. The ring has been taken
and the thief is among yours. But missus Kilby, Missus Cheever,
is not the slightest doubt. Three of you are in
(19:55):
the bedroom when I placed my rings with a pin cushion.
Speaker 8 (19:57):
Quite true, I was in the room when she took
them off, the sapphire ring on top. Each of you
has passed through there a dozen times since my sapphire
ring is gone, and one of you has taken it.
Speaker 6 (20:08):
Everything I want to know, I'm not going to miss words,
I'm not going to stand on ceremony, but I'm going
to have my ring back. Listen, to me carefully. I'm
going to have that ring back, and until I do,
not a soul shall leave this room. I don't care's
taken it. All I want is my ring. Now, I'm
(20:33):
going to make it possible for whoever took it to
restore it without possibility of detection.
Speaker 2 (20:37):
The doors are locked and will stay locked.
Speaker 6 (20:40):
I'm going to blow out the remaining candles in the candelabra,
and I'm going to count one hundred slowly. It will
be an absolute darkness. No one will know or see
what's done. But if at the end of that time
the ring is not here on the table, I shall
telephone the police and have everyone in this room searched.
(21:00):
Am I the fight here. Everyone takes place about the
table and remains standing.
Speaker 2 (21:07):
Please, that's it, then, do now.
Speaker 6 (21:12):
I'll blow out the candles and count one hundred, no more,
no less. Remember either I get that ring or everyone
in this room will be searched. One two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen, sixteen, seventeen, eighteen, eighteen, twenty,
(22:02):
twenty one, twenty two, twenty three, twenty four, twenty five,
thirty six, thirty seven thirty eight, twenty nine, thirty, thirty one,
seventy two, thirty three, sety four, seventy five, thirty six,
(22:27):
seventy seven, thirty eighty nine, forty, forty one, forty two,
forty three, forty.
Speaker 4 (22:39):
Four or five pots left off the chai, forty.
Speaker 6 (22:43):
Seven, forty eight, forty nine, fifty fifty one, fifty two,
fifty three, fifty four, sixty five, fifty six, fifty seven,
fifty eighty nine, sixty, sixty one, sixty two, sixty three,
(23:06):
sixty four, sixty five, sixty six, sixty seven, sixty eight,
sixty nine, seventy, seventy one, seventy two, seventy three, seventy four,
seventy five, seventy six, seventy seven, seventy eight, seventy nine, eighty,
(23:30):
eighty one, eighty two, eighty three, eighty four, eighty five,
eighty six, eighty seven, sixteen, eighty nine, ninety ninety one,
ninety two, ninety three, ninety four, ninety five, ninety six,
(23:53):
ninety seven, ninety eight, ninety nine, one hundred. You may
hand it to me. Well, now does that silver? We
(24:14):
can have a very gay little supper the night someone.
Speaker 5 (24:22):
And there you are, gentlemen, oh, I say, Peter's that's
not all. Absolutely the story ends there, story ends there.
Speaker 2 (24:29):
But the who to the ring? Ah, it is never
found out, never, no clue none. I'm not sure I
like the story.
Speaker 4 (24:38):
That's no story at all.
Speaker 2 (24:40):
Formit me. It is a story, and it is complete.
Speaker 5 (24:43):
In fact, I consider it unique because it has none
of the banalities of a solution, and leaves the problem
even more confused than at the start. Irse, you don't see,
my dear kin, You do not see that any solution
would be come in place. Whereas no solution leaves an
extraordinary intellect true problem. Well in the first place, whether
the situation actually happened or not, which is in itself
(25:06):
a mireatriviality. Peters has constructed it in a masterly way,
the proof of which is that he has made me listen.
Speaker 2 (25:13):
Any of those present might have taken the ring.
Speaker 5 (25:16):
There are therefore seven solutions, all possible and all logical.
But beyond this is left a great intellectual problem. So
was it a woman who lacked the necessary courage to continue?
Or was it a man who repented his first impulse?
Is a man or is a woman the greater natural criminal?
Speaker 4 (25:35):
All that's simple Quinny. The woman tug.
Speaker 2 (25:37):
Of course, on the contrary, was.
Speaker 5 (25:39):
A man, for the second action was more difficult than
the first. A man certainly, the restoration of the ring
was a logical decision.
Speaker 2 (25:45):
You see.
Speaker 5 (25:47):
Personally, I inclined to a woman for the reason that
a weaker feminine nature is strangely susceptible to the domination.
Speaker 2 (25:53):
Of her own sex. There you are. We could meet
and debate the subject year in and year out and
never agree.
Speaker 3 (25:59):
I recognize most of the characters. Peters, this is killed there,
of course, is all you say of her. An extraordinary woman.
The story is quite characteristic. Cover Flanders, I'm not sure
of but I think I know him.
Speaker 5 (26:12):
I'm positive did it really happen exactly as I told it.
Speaker 2 (26:16):
The only one I don't recognize is Harris, your humble servant.
But you Peters, you were there. I was there, I
was Harris. Oh yes, what is it?
Speaker 3 (26:33):
John?
Speaker 2 (26:34):
Mister Peters saw your train? Who told me to remind you? Oh?
Thank you?
Speaker 5 (26:38):
Yes, I hadn't notice so late, you gentlemen. Pardon me,
Nice to meet you all night.
Speaker 1 (26:51):
Curious chap an extraordinary Oh now, I.
Speaker 9 (26:56):
I wonder, I wonder if we're wondering the same thing, gentlemen,
and so, with the enigmatic smile of mister Peters or
Harris ends one hundred in the dark.
Speaker 4 (27:19):
Owen Johnson's smooth story which.
Speaker 2 (27:21):
Gave us to Night's Suspense. Suspense is produced by William Spear.
Tonight's radio drama was written by Jack.
Speaker 3 (27:32):
Andson Fink, directed by John Diets, and scored by Bernard Hermann.
Eric Dressler was mister Peters, Alice Frost played Missus Kildare,
and Ted Osborne Quinny.
Speaker 4 (27:44):
Others in the.
Speaker 3 (27:44):
Cast were Helen Lewis, Joan Shay, Henriette Kay, Frank Reddick, Paul.
Speaker 2 (27:50):
Luther, Stephen Schnabel, Ian Martin, and Barry Kroger.
Speaker 3 (27:54):
With this Evening's performance, Columbia brings to a conclusion the
present series of Suspense.
Speaker 2 (28:00):
Like these broadcasts, CBS would be pleased to hear from you.
Speaker 4 (28:03):
Suspense has been a series
Speaker 3 (28:05):
Presented for your relaxation and enjoyment by the Columbia Broadcasting System.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.