Unknown Broadcast | Journeys Into Darkness: Sinister Passengers & Old Time Radio Suspense

0:10 My dear, so good to have you back. What's that? Well, I suppose I have a lot to be thankful for now that you've brought it up. But that's neither here nor there. We'll get into that more as the time approaches, I suppose. No, tonight I want us both to just kick back by a roaring fire Cold air and wind going wildly outside. But in here, we're smiling, warm, comforted by friends and memories. Really, we're about to embark on, well, a journey to somewhere.

1:08 CBS Radio Mystery Theater presents... Come in. Welcome. I'm E.G. Marshall. For those of us who grew up listening to the chug-chug of steam and the lure of that mournful whistle in the night, the romance of the railroad will never die. Nowadays, of course, trains are different. Yet the clickety-clack of the wheels remains the same, and the whistle still speaks of strange and faraway places. I hope the romance still lingers long enough for me to bring you this story.

2:01 The whole point was, you see, that it didn't matter where they thought they were going, because they were. Really all dead. That ain't true about us, Mrs. Winsome. I can assure you we're all very much alive. You know, Mr. Conductor. You're the very last one in the world I would trust. To tell me the whole truth. Our mystery drama, Journey to Somewhere, was written especially for the Mystery Theater by Ian Martin and stars Norman Rose and Carol Tytel. It is sponsored in part by True Value Hardware Stores and Buick Motor Division. I'll be back shortly with Act One. Why are so many people buying Buick's new Century? Well, it depends on who you ask. Mrs.

2:52 Marsha Resnick. It holds the road and it drives really smooth. It's nice. And Mrs. Phil Jackson. I like it because. And he can't even begin to tell you all the reasons why he likes their new Buick Century. I really wouldn't know where to start. But then that says a lot about Buick's new Century and why it's drawing a crowd at your Buick dealers. On a certain day, in a certain year, not so very long ago, a certain train pulled out of a terminal in one of our major cities and headed north. It was traveling what was little better than a spur track. There were few stops along this line to Skeffington Junction, and just as well.

3:47 For weeks, this part of the country had lain gasping in the clutch of one of the most bitter winters in weather department history. For the record, the locomotive was number 711. A cosmic joke, considering all the bad luck this train carried with it, and was heading into. Sounds almost like a ghost train, doesn't it? I beg pardon? Maybe I should beg yours. A silly sort of remark, I guess. What I meant was, all this snow, it muffles the sound. Sort of a dream-like quality. I was thinking the same thing. Looking out the window. A world smothered in white silence, swallowing up, absorbing the sound.

4:31 It is a ghost train. A sad opening gambit for a conversation. Forgive me, my name is Henry Thorpe. How are you, Mr. Thorpe? I'm Julie Conrad. I suppose I should say, was. Oh, now, don't tell me that you're a disembodied spirit. It isn't something I can joke about. Not after 23 years of marriage. Oh, I'm sorry, I... You're widowed. No. No, it hurts a lot worse than that. Divorce? That's the polite name for it. It can be a dirty business, Mr. Thorpe. Just for your information. If you've never been through it. I haven't. My... My wife died. Oh.

5:11 I am sorry. Well, it's some time ago. Do we... Does one make adjustments? I guess it's up to the individual. I have not been roaringly successful... Or I suppose I wouldn't be on this train. Nor I suppose would I. It might be interesting to pursue just what that means. I beg your pardon, sir. But could the lady please take care of my patient? And could you help me? Oh, get the conductor. Dear lady, what is it? My patient is in the seat just across the aisle. A few seats back. She's not ill, just elderly. Her name is Mrs. Winsome. Mr. Thorpe, help this woman. I'll go and take care of Mrs. Winsome.

5:53 Yes, of course. Now, what can I do for you, nurse? We'll need the conductor. Would you get me to a hospital? I'm having, I believe, an acute appendicitis attack. All right, all right. Now, take it easy, nurse. Mrs. Winsome? Oh, yes? How did you know my name? Well, I'm sitting a few seats in front of you. Your nurse told me your name. Did she? Yes. She's not feeling too well. Dear me, that's rather a strange guy. Of course, she's supposed to be in charge of me. Well, you aren't well? Of course I am.

6:33 Just the way they feel. They? My daughter and that dreadful husband. They just wanted to get rid of me. So they stuck little Miss Brown with cutting me off to be incarcerated. To be what? Locked up in a nice, safe nursing home. Mrs. Winsome, could we talk about you a little later? Of course. Everyone always wants to talk about me a little later. But somehow the time never comes around. Who did you want. To talk about? Oh, just for the moment. Your nurse. What's the matter with her? She thinks she may be having an appendix attack. Oh, dear. Then we must stop the train immediately.

7:14 Well, I think they're discussing it. I mean, I see Mr. Thorpe is talking with the conductor. Now, what are we going to do? It ain't but a few miles to Lambert up ahead. I'm going front to tell the engineer we'll be making an emergency stop. Do they have a hospital in Lambert? Doc Prouty has a clinic I reckon we'll have to do. We'll phone on ahead and alert him. I'll be right back. He said there is a doctor. Yes, that's right, nurse. I hope that solves me. Now, what am I going to do about my patient? Surely we can find accommodations for her, too. You don't understand. She can't manage alone. And besides....

7:56 She should be gotten to the sanitarium as. Soon as possible. Where is the sanitarium? In Skeffington Junction. It's about six or seven minutes from the station. Do you know the town? Well, I was born there, but I left a long time ago. Do you remember Little Falls Ridge? With the big Indian teepee on top of it? Oh, bless you. That blew down years ago. Oh, I. They've got the sanitarium there instead. They've only. Now, you just try to rest, and don't worry. I'll get your patient there for you, okay? That is a load off me mind. Now, if you'll go by my purse, there's a big envelope beside it with all the papers. Now, would you.

8:36 Bring it, please? Well, I don't like to leave you alone. No, no, no, I'll be all right. I want to check and make sure you have everything. Oh, I think we must be coming. and plumb up. It won't be a second. Oh, miss, miss. Yes, sir? This lady isn't feeling well. Would you mind keeping an eye on her for just a minute? Well, I don't know. Please, it's an emergency. Please, sir, I'll do my best. I'll be right back. Uh, ma'am? Uh, excuse me, but, uh, this man asked me could I help you with... Is there anything I can do? I'm sorry you're hurting me. If you just tell me how I can help you. Ma'am? Lady? Lady, wake up! Please! Oh, no!

9:18 Oh, mister! Oh, where did he go? Hey, watch it. Watch it, lady. Don't fall off the seat. Hey, you. Me? Yeah, you. Come here, will you? Please help me. Help me. Well, what's the matter? Your mother passed out or something? No, no, she's not my mother. She's just a woman that's sick. Now, here. Help me get her back on the seat, will you? Well, why not? Give me a lift right here, okay? Okay. There. She's all right. Hey. What's the big idea of the train coming to a sudden stop like this? It's coming into a station, I guess. I don't see nothing out there but snow and snow banks. Hey, where'd that conductor go?

9:59 Search me. Hey, what's eating you, whoever you are? Nothing. I just don't like... I mean, why should we be stopping here? What's the matter? You act like you had cops on your tail. Hey, I never said that. Okay, miss. And you, son. Thanks for helping out. I'll take over now. Hey, you know why we're stopping here, mister? Yes, to get this lady to a hospital. And what's happened to her? Well, I think she just sort of passed out, Mr. Thorpe, Henry Thorpe. Oh, yes. Let me see. Oh, she's... She's breathing, all right. Maybe it's a blessing she won't feel the pain. All right, thanks again. The conductor and I will handle the rest. Yes, yes, sir. Hey, where are you sitting? Oh, right over here.

10:39 Do you mind if I sit with you? Well, I don't know. I want to ask you something. What? How come you thought I might be taking off from the cops... Maybe. It takes one to know one. What does that mean? It means bug off. I'd rather be alone. Okay, suit yourself, sister, if that's the way you want it. That's the way I want it. Ladies and gentlemen, we've made an emergency stop. There'll be no one boarding the train, and with the exception of the lady we have to get to the hospital, no. One will leave it. There's a bad storm out there, and we'll be pulling out first chance we get, because we're running late. How long do you think we're going to have to hang around this whistle stop?

11:20 I don't know, until they get the nurse down to a hospital, I guess. What's going to happen to the old lady she was taking care of? Well, Mr. Thorpe said he'd look after her. Who's Thorpe? He came over when you were helping to get the nurse. Back on the seat. The one who got off with the conductor and the guys with the stretcher? Yeah. Suitcase Sam. No, I think he said his name was Hen... What do you mean, Suitcase Sam? Oh, it's just a name I gave him in my mind, like. Why? Hey, wait a minute. Who asked you to sit down? Me, myself. Uh, my name's Duke. What's yours? Linda's... Now, what's it to you? Does it hurt to know your name? Linda what? Goes both ways.

12:01 Duke what? Okay, so, Linda, Duke. How come you call Mr. Thorpe suitcase Sam? Oh, that. You ever notice the way he hangs on to his briefcase? Ever since he got on the train, no matter what he does, he never lets go. Helps out the old lady, lugs the briefcase. Goes off the train, it still goes along like it was chained to him. How come? Well, he has important papers in it. Money, I don't know why. This crummy old train. Headed for practically nowhere. Five of us in this coach now that the nurse is gone. Ever stop to figure what brings us all here?

12:41 No, I got my own problems. Sure. We got problems, all of us. Hey, who are you? I told you, Duke. A student of life. Well, what are you trying to say? There are five of us right here. We've got one thing in common. We're all on the lam. Running like hell from something or other. Okay, everyone, we're sorry for the delay. You'll be glad to know that the lady who was sick is in good hands. By now, in spite of the weather, she's at the clinic about to have her appendix removed and in A1 condition. So we'll be getting rolling again. Did you hear what the conductor said, Mrs. Winston?

13:23 Oh, yes. In spite of my age, my hearing is quite unimpaired. Tell me, is Miss Brown all right? Well, I believe so. Excuse me, Mr. Thorpe, just collecting tickets. Totally excited for a clean slip my mind. Sure, conductor. Here's mine. The other lady here. Oh, I got the two young people and her. Just Mrs. Winsome's and the nurse left. Miss Brown put them right there on the back of the seat. That's right. Let's see. One way for you, I reckon. Return ticket for her. Should have gotten that to her. How do you know the return isn't for me? Well. Or for Mr. Thorpe?

14:04 Is it? Oh, no. The return trip was Miss Brown's, the nurse. Cozy, isn't it? Five of us left on the journey. All one-way tickets. They are a bacon, Doctor? Why, uh, yes. Ah, what a night. Can't see anything out of this window. Oh, we know we could be. They do lead somewhere, you know. Do I? Do you? How wonderful, yeah. Skeffington Junction. That's where I'm headed. Are you sure? I don't quite understand. I saw a play once about some people on an ocean liner traveling in a fog.

14:48 And none of them really. Knew where they were going. Oh, yes. Outward bound. I bet. It didn't matter where they thought they were going, because they were really all dead. Well, that ain't true about us, Mrs. Winsome. I can assure you, we're all very much alive. And there was a steward on the ship just like you. Do you know, Mr. Conductor, in this circumstance, that you are the very last one I would trust to tell me the whole truth? We shouldn't pay too much attention to the vagaries of an old lady who is on the way to being institutionalized.

15:32 Or should we? The passengers are an odd assortment of lost, unhappy people. What urges them towards Skeffington Junction? What is there for them, if indeed they ever reach it? And if they don't, what will be their ultimate destination? I shall return shortly with Act Two. This year, give Mom a gift she can appreciate long after Mother's Day is over, like a name-brand kitchen appliance from True Value Hardware Stores. Hi, Pat Summerall to suggest you give her a Presto Fry Baby Deep Fryer. It deep fries one to two servings of fish, shrimp, chicken, or other fried foods in just minutes, in just two cups of cooking oil. And the lid snaps on to store the oil for the next use.

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16:56 The night is a blur of swirling snowflakes. The searchlights from the locomotive bombard the gloom. The rails gleam bright, leading the train surely towards its destination. Inside the first coach, our passengers are as we left them. But from the cold, wild night outside, phantoms have penetrated the interior warmth. And an old lady's voice has stirred in all our travelers the dead ashes of loss and desertion. Only Gus, the conductor, is left unaffected. We must be running very late, conductor. Lost pretty near an hour. Can you estimate what time we might be getting at the Skeffington Junction? Pretty hard to say, the way the weather's shaping up. You want me to go up forward and check? Yeah, I wish you would. I'll do that little thing.

17:48 Mrs. Winsome? Yes? I just thought I'd like to kind of point out if we really had a... Well, like you say, a date with destiny... It sure wouldn't be hit or miss like this, would it? I wouldn't have thought so before. But now that you mention it, perhaps this is just the way it should be. Well, I'll get up on forward and talk to the engineer. That man is hiding something. No, I don't think so. Hiding what? The truth. About what? I can't answer that.

18:29 Oh, never mind. Am I to understand that you have taken over as my nurse? No, no, not at all. I just told Miss Brown, since she was sick, that I would help you to get where you're going. To the funny farm? I beg pardon? Oh, don't try to be polite. That's the common term for it. Well, I don't buy the term or the qualifications. You are on your way to a sanitarium. Highly qualified and recommended. All right, if you like it so much. Do you want to take my place? Me? Why would I. Now, don't try to pull the wool over my eyes. You think I don't know of the signs of a man who wants to run from life. You do, don't you? Perhaps. But that has nothing to do with you. Now, don't be too sure. Though I may come on strong, maybe I'm just as ready to run as you.

19:14 The only thing is, Never mind what you run from. Where is it you want to run to? Well, where do you? That's not very interesting. Try me. All right. I had a wife who was my whole life. And she died suddenly. The children were gone, long gone, involved in their own lives. And in my case, not interested in extending the line. You know, creating grandchildren, whatever you want to call it. And suddenly I... I don't know. I was up against a blank cliff. End of the road. I did a complete flip-flop. You'll have to explain that for me.

19:54 Maybe also for myself. You see, I was born poor. We were so poor that when I was eight, I was let out for adoption. I never knew my parents, who died very young. It was only in the last years when I couldn't find roots with my children that I tried to go back and find them with my parents. Did you? No, not really. Just enough to make this last journey. Because I see it as the only place I'm wanted. I think you're very lucky to find any place you're wanted. Some of us are not so lucky. Mind if I sit down for a moment? Oh, no, why not?

20:38 But what about your charge? Mrs. Winsome is enjoying the kind of sleep that only the very young or the very old seem to be capable of. You sound a little bitter. I am. I should be the last to criticize. So am I. Oh? What are you bitter about? Life and whatever prolongs it. This endless trip. Why do we have to just put along? It's pretty wild. The train doesn't have to see where it's going. The tracks are laid out. It just has to go. That's why I picked it. To go where? Skeffington Junction? Mainly to anywhere I wasn't. I don't know how to answer that.

21:19 Who asked you to? Just the normal process of give and take between two human beings. Haven't we gotten to the time of life where that shouldn't be necessary? You want to argue cases. Hmm. Why don't you consult them? Consult who? Those two. Those two so-called kids over there. Ask them about the state of the universe. They know it all. They have it all tabbed. Leaving the two of us just two outmoded nothings to cop out. The faster, the better. Now, wait, wait. Just a minute. You... Ah, forget it. Ask a foolish question, you get a foolish answer. What's so foolish about my answers? Any time any of us give up on living... Wouldn't you say that it's foolish?

22:03 No. Anyway, I'd have laid odds you'd be the first to understand. Me? Why? The things you said when you first intruded on my privacy. This whole crazy setup. It's a well-dressed, obviously successful businessman like yourself doing on a flea-bitten train like this to nowhere. I'm going to Skeffington Junction, aren't all of us? I don't know. There aren't any other stops between here and there. Well, then that must be where we're going. Don't tell me you have business there. Well, if it happens, I have. Don't you? Not really. This is a pleasure trip? That it is not. Definitely not. Well, then why.

22:43 Oh, call it a. All at a stepping-off place? To where? That's a good question. Why don't you ask the others? Except poor little Mrs. Winsome. She knows where she's going. It really is the end of the line for her. It might not be so bad for her. You're an optimist. And you? Since the roof of my world fell in, I expect only the worst. Now, look, Mrs. Conrad. You're a young woman. You lost a husband recently, all right. You'll weather the storm. You'll find a new life. I don't want a new world. I want the one I had. I just wish I was dead, since I might as well be. Well, that is a bit rugged, Mrs.

23:25 Conrad. Oh, that is the way I feel. It takes all kinds of women, I imagine, to make a world. My kind, or maybe it's just me. My kind is symbiotic. Symbiotic? Forgive me. I once was a biology major. Symbiosis is the living together of two different but mutually interdependent organisms. Take away one of them, and the other dies. Well, there couldn't be anything much different than man and. Woman, could there? But your husband. Oh, he's a survivor. He'll adapt. Not me. Without him, I'm dead.

24:06 So, you're running away. All towards.... Geffington Junction. It's a miserable, scrubby little town, you know, except for the hotels. But it's a jumping-off point for one of the most glorious sights in the world. Those wild, cascading, plunging waters with the spindrift hanging in the air to condense in your hair like diamonds or pearls. He said I was wearing a Juliet's cap. Huh. I was in fairyland or Camelot or you pick your own heaven on earth. And it never changed till.

24:49 Till it changed. I spent my honeymoon in Scaffington Junction. Began my whole life there. So did I. I was born there. Is that why you're going back? More or less. To try to find a new life? No, that isn't possible for me. But it could be for you. Oh, no way. I'm just going there to say goodbye. Mrs. Conrad, forgive me, but I. Look, Mr. Thorpe, if you have an urge to save a life, forget the two you've squandered. Yourself on so far. The two? Mrs. Winsome and me. Why don't you concentrate on the really lost?

25:30 I don't know quite what you mean. Another of my failures was my children. Not so much unlike those two. Why do you suppose they're going to Scaffington Junction? I wouldn't have the least notion. Oh, you are a very persuasive man. If you have this missionary urge to save a couple of souls young enough to maybe make a difference in the eternal balance. Oh, you misunderstand me, Mrs. Conrad. I'm the last person to have any missionary urges in my own way. I'm just as dead as you profess to be. Everything's fine, little baby. Don't move.

26:18 I fell asleep. Who didn't? I guess I was, like, all over you. I guess. We made out. You went away somewhere. Uh, yeah. You know, like when you got a... Was that all? Well, on the way back, I made a stopover. What? El Cubo with the briefcase. He was zonked out and the briefcase was sitting right beside him. So? So, I checked it. It wasn't locked. I took a peek. What am I supposed to say? Well, don't you want to know what was in it? What? What? Money.

26:58 Money. Oh, wrapped like from a bank. Must be a hundred, two hundred thousand, maybe. I don't know. So? So, it's a lot of bread. That isn't ours. Or anyone's, except like, uh, who has it? Are you talking about stealing it? Oh, come on. What steal? Nobody owns nothing. I don't get you. I say you do. I think you're just as funky as I am, only you don't want to face up. I don't get you. Punk, baby. Punk all the way. I don't know what you're talking about. What's punk? I'll lay it out for you. I'm me, and I don't give a damn for nothing, nobody, no way. I am punk.

27:42 I don't know. Are you all right? Oh, yes. I just hurt my arm a little. You better look at Mrs. Winston. Mrs. Winston, are you all right? Mrs. Winston? I apologize for the suddenness of our stop, but we've just encountered high snowdrifts blocking the track. It's doubtful we can continue on towards Keffington Junction. Now, we are sending for additional equipment to take us back as far as we have to go. To find accommodations to. Wait out the storm. So, please, please, be patient. We may be here for a considerable time while we try to figure out the best way out for all of us.

28:26 The best way out for all of us. An old lady who is being railroaded into an old folks home against her will. A woman who feels her life is already over. A man who has turned from the living to the dead. A self-confessed punk who cares about nothing but himself. And a young girl whose secret is still locked behind two dark and frightened eyes. What is the best way out for all of these? I shall return shortly with Act Three. Maybe you've got a neighbor who just bought a new Electra and you've gotten so smug and self-satisfied lately you can't stand it. Well, look at it this way. If you had just gotten a car with all the luxury and prestige of Electra and a trim European-like design that makes it easier than you might imagine to park and maneuver in city traffic... Wouldn't you be a little insufferable for a while? We thought so.

29:21 The new Electra at your Buick dealers now. For two hours, the train crew has been busy. Attempting to. Dig out the huge engine from the snowdrift into which it had burrowed to an accidental halt. The air in the front coach is growing cold. The two young people are huddled together, sharing his goose-down parka. Henry Thorpe stands beating his hands across his chest while Mrs. Conrad snugs into his overcoat. Further back in the car, little Mrs.

30:03 Winsome is two bright button eyes gleaming out from a mound of stray clothing wound about her. Hey, this is kind of kicks, huh? Oh, glad you think so. Raising to death. Oh, cozy enough under a blanket? Now, don't get me like this. Oh, come on. And what's the big cold shoulder? You're wasting your time. I wouldn't trust you any farther than I can throw you. You're not my type. Who said it takes one to know one? That was different. How different? I just meant you were running out on something. Okay. Okay, I suppose I am. You must be as conscious as probably you. Hey, don't give me that square talk. How come you of all people figure I have to be wrong?

30:44 Me of all people? Oh, now look, Duke, or whatever your name is. First, I don't care what put you on the road. And second, I. Look, it was nothing all that terrible. Just everything backed up. flunking out in another college, which was stale news. But it meant the usual go-round with my parents, and I'd had it. So I cut out. Got enough bread to see me through to Canada, and then I can move in with the family. What? Yeah, yeah, it's a... What do you call it? A commune. You? In a commune? Yeah. I don't believe it. Look, it's where you can let everything loose, flow free. Sum your nose at the establishment.

31:24 Come on, isn't the family just another kind of commitment? Well, all right, so whatever it is, it's one that I picked, not one I was stuck with. Hey, it's a good life. You ought to dig it, too. Doesn't it, uh, grab you? I don't know. It's something I never even thought about. Can I just. anybody join us? If you want to make the commitment. Uh. Hey, are you putting me on? No, why would you think that? Well, I had the notion right off in the first that maybe you were headed for the family, too. No, this is the first I ever heard of that. Well, then where are you headed? You wouldn't want to hear it. Try me. Oh, I don't want to put it into words.

32:05 Talk to me, Linda. You know you want to talk to somebody. Oh, yeah, somebody. Anybody. Well, my father. Well, he died a long time ago. And four years ago, my mother married again. I was 14. The guy, I, the man she married didn't want me. I just came along with the deal. Oh, he treats my mom all right. But the guy's a, he's a dog. He's let me around plenty when my mother didn't know. Later, she didn't care after she started drinking. Well, to where I could take. It, but suddenly I was 18, and the only way was out.

32:50 But out where? You got relatives in Skeppington Junction? You're going to laugh at this. But, um, have you heard about Pen Pal? Uh, oh, you mean like you get a name and address and write, and he writes back and all that? Mm-hmm. Yeah, like that. Sometimes when the walls close in on you, you've got to find a new door out or a window to escape. Well, anyway, I wrote this guy nearly. Two years ago. He was a farmer and he lived two hours out of Skeffington Junction. He was old enough to be my father, but he never had a wife, so, okay, I never had a father. He was the only way out.

33:33 Wow. It's been a habit. That is crazy. Throwing yourself away. Are you any better? What do you think you're doing? I sure hope you folks are making out. Ain't got much to report. We're still waiting for the relief engine that's on its way. We're going to try to keep you as warm as we can until then. But you are going to have to help. How are your kids doing? Oh, we're making our eyes. Good. Oh, Mr. Thorpe, you look pretty cold. I'm all right. He isn't, really. He gave me his coat to keep me from freezing. I got an extra coat here. You better climb into it, sir. Maybe Mrs. Winsome could use it. I think you need it more. Take it, Henry.

34:14 I could use it for just a moment or two, if I could be sure. Why don't you let me sit with the old lady for a spell, huh? Just come out from the engine room and... What is it? All right, folks, I'll just take it easy. No cause for alarm. It's just the new locomotive hooked up with us at last. Ah, it's raining and getting warm again, Mr. Conductor. We're going back, aren't we? We are. Guess in our own ways, none of us here were all that anxious to get to Skeppington Junction this time around.

34:58 Where will we end up? You'll likely know. I doubt if it'll be Lambert. The town was all sewed up with this weather when we stopped there a while ago. We might have to chase our tails back to where we began. Oh, dear. That wouldn't really solve anything, would it, Mrs. Lambert? I don't know your name. Gus is pretty near all I ever use. But you must have a name. Never had any real use for it except in contacts and the like. Summers it is. It's not much of a name in weather like this. Summers. I find it a very nice name. And a cute one.

35:41 Especially in the condition we are in right now. Do you, ma'am? Why? Well, it would have been if you'd. Been called Wednesday. Might have been better if I had. What? This extra little jaunt, Mrs. Winston. You know it as well as me. It's only a. What do you call it when there's none of it? It's condemned to die. It's word from the governor of the king. Oh, that's it. Reprieve. But it ain't gonna last long. I don't quite understand. No. You and me, we're in the same boat, huh? Nobody wants us anymore. I'm 65. The boom falls. I gotta retire. There goes my whole life. I never had nothing but the railroad. Take that away. I'm only waiting out the years.

36:37 That is my case entirely. We are both in the same boat. Well, oh, uh, Mr. Thorpe, anything I can do? No, no, Gus. Stay where you are. I, uh, just had a sudden urge for a cigar. I'm going out to the platform to indulge it. How is Mrs. Conrad? Well, she's fast asleep. I didn't want to disturb her. I don't think anyone else should. Gus, when do you think we'll be stopping? Well, not this side of the Guzman Bridge. How long is that? Oh, we should be crossing in another two, three minutes. Fine. Now, if you'll excuse me. Oh, such a pity. Hmm? That nice man without a wife. Lonely. And there's a woman just made to order for him.

37:20 Beg pardon? The lady who is sound asleep. Divorced. Lonely as him. You'd like to see them together? It would be nice. But not reasonable, Mrs. Winsome. Any more reasonable than these two kids who are coming this way. Now, what do you suppose they want? Hey, uh, conductor, it's getting kind of steamy in here. Okay if we go out on the. Platform for a breath of air? I hope you don't mind. Oh, no, no, of course not. You can have a little visit with Mr. Thorpe. He's out there having a cigar. Oh, cheer up. Neither of us smoke. We'll leave you some air to breathe. That was sweet. What? Thinking of them non-smokers. Maybe there's some hope for you after all.

38:03 Like how? Maybe you're not all punk. You want to get the door? Oh, yeah, sure. Oh, hi, Mr. Thorpe. You mind if we join you here on the platform? No, not at all. If you don't mind the cigar. Linda? No, we've been so cooped up. Can we get some real fresh air? We could crack the outside door open just a piece, okay? Oh, solid. Let me help. Oh, no problem. There we are. Except, where are we, really? The conductor said we should be crossing. The river and. Oh, yeah, I guess we're on the bridge now. It's been a strange trip, hasn't it?

38:43 Yeah. One I don't care ever to take again. Or me. I don't know if. I can agree. Hang on for your life, Aspen. The bridge gave way. What? We're hanging on the. Edge by a thread. I have the door open. Jump. Jump. Jump. It's your only chance. Duke, I thought you never came back. I'm sorry. I'm kind of sick to my stomach. Did you hurt yourself when you jumped? No, it's not bad. The train. It's gone.

39:28 Gone? Yeah, the the weight of the snow must have weakened the bridge. When we went back over it, it just gave way and the whole train went whacking into the river. Oh, my. The ice sank like it had just never been. But our car, we were the last one, didn't it? The three of us jumped just in time to make the snow bank and Our car got pulled down with the rest. And the old lady, the conductor, Mrs. Whatever her name was. Yeah, gone. Oh. Wiped out. Oh, too. I'll tell you, Linda, it makes you sit up and take a new look. I just stepped out. Hey, how's Mr. Thorpe? I don't know.

40:09 Well, he's alive. Sir? Sir, you all right? Something happened to my. My back when we jumped. Is there anything we can do to help? No, no, no. Don't try to move me. This way, this moment, it doesn't hurt too much. Sir, we've got to get you out of here. Why? You want me as another statistic. Forget it. Oh, you know that's not what we want. I know, Linda. But I'm long past caring what you want from me. It's what I want from you that's important. I want you both as another statistic. What? Six of us that we know of. Six of us on that train.

40:54 Four of us ready and composed to die. Not you, sir. We won't mention the disease, but it was progressing so fast. I would have been destroyed in weeks. All the others had no real future like me. Except.... Except you two. And that is the miracle. That you are here. I, uh. I. I had a briefcase somewhere. Yes. It's here. Lucky, you always carry it with you. The one with the money. I'm glad that you... But you know what it contains. No, we don't want the money.

41:34 Just tell us what you. Don't say you don't want it. My own children are long ago taken care of. This money is from a safe deposit box. No one knows of it but me. What did you mean it for? Well, once I thought I would build a mausoleum for my parents who were buried in a pauper's grave. You see, that's where I was taking it. To die myself and lie with them. Now, I know that that was stupid and I want. Yes, you want? I want this money to be for the young and for the future. I leave it to you to use as you see best. Who is he? I guess... Who? Well, what about the money? You heard what he said.

42:35 Can we take it? We take it and use it for things that he might have wanted it used for. I doubt if he'd have okayed the punk psychology. Oh, come on. I don't mean it like that. Well, then how do we use it? There'll be a way. As long as it helps some young people, I don't guess he'd fault us too much. Hey, I got a date with a man who wants to marry me. You've got a date with a man who wants to use you. We've got a better date. We? Okay. Us. With a hundred thousand bucks and a memory of this trip, of how wrong we could have gone, how can we lose?

43:23 Are you propositioning me again? I'm trying to make you an offer you can't refuse. In everyone's life, there is a Skeffington Junction, that particular private place where when life becomes too much to bear, you can run and jump off, or perhaps just bury your head in the sand. Of course, there is no such place in reality, for life itself ordains the pattern we must follow and the end that waits for us. I have nothing more to say about our story, except that I hope, as you.

44:10 The young people made good use of the gift of both money and time. And a quote from an old poem. Tis here, they say, the journey ends, and little doubt it must be so. But, as I tell my bestest friends, I hate to go. Our cast included Norman Rose, Carol Tytel, E.V. Juster, and Russell Horton. The entire production was under the direction of Hyman Brown. This is E.G. Marshall inviting you to return to our mystery theater for another adventure in the macabre.

45:02 Until next time, pleasant dreams. © BF-WATCH TV 2021.

45:50 Well, my dear, do you think we've gotten the evening on the right foot? I think so. Oh, more tea, of course, of course. Your cup is looking wanton, and I'd hate to leave it. Leave it like that. That's unfair. Almost downright cruel. I apologize. I try my best to be a good host, but Well, this is inexcusable. What's that? Oh, this here is your ticket. You see, you are a passenger to Bali.

46:34 You, finding life rather dull, dreaming again of exotic places, wishing you were somewhere else, we offer you escape. Escape with us now to a small freighter in the China Seas and a sinister traveler who brings destruction to crew and ship alike. As Ella St. Joseph tells it in his most unusual play, A Passenger to Bali. Bollywood The papers in my pocket read, Steamship Roundabout, 9,000 tons, British Registry. Master and owner, Captain English. Stamped across the face was the clearance of Port Authority. I'd be glad to see the last of Shanghai, its smell and its waterfront filth.

47:49 Gargoes had been scarce. Now with our hold filled for the first time in months, I didn't want to waste time. I wanted to get underway before morning. Mr. Slaughter! Aye, Captain. Would you step up here to the bridge, mister? Aye, sir. Are we ready to sail, mister? All secure, sir. All hands on board? Aye, sir. Good. Let's clear port, Mr. Slaughter. Yes, sir. Mr. Engle, stand by the castle. Stand by. Stand by. Let go of the stern spring line. You there on the dock, hike that line for it.

48:29 For it, you lump of me. Here, you can't board now. But my good fellow, I am aboard. The ship is about to sail. Who is it, Mr. Slaughter? Oh, someone who insists he talk with you, sir. Stay there. I'll be down. Well, what is it? Have I the honor of addressing Captain English of the Roundabout? I am Captain English. Allow me to introduce myself, Captain. I am the Reverend Walks, a missionary bound for Bali. What can I do for you? You can offer me your hand. Come to your point, Mr. Walks. We're about to sail. I am told your.

49:10 Boat puts in at Bulalong, the port of Bali. Is that correct? Yes. Good. Here you will find my passport and papers of identification. If the paper and myself shall meet with your approval, we can settle the matter of money and I shall sail with you tonight. You've been misinformed, Mr. Warks. The roundabout is a trading steamer with no accommodations for passengers. You'll find I need little. I'm sorry, but it's impossible. Good night, sir. Pay him your price. What's that? A customary fare from Shanghai to Bali is $ 100. I'll double it. Sorry, don't tell me there isn't room in your cash box for $ 200.

49:51 That's a lot of money, Mr. Watts. Think of the reward for bringing grace to the pagan Balinese. Let me see your papers. Well, your passport seems to be in order. The photograph... You? And the money, Captain English. The money is also interesting, is it not? Where is your luggage, Mr. Walks? On the dock. Two cases of Bibles. I'll see to them. Mr. Slaughter, take Mr. Walks forward. Tell Mr. Rangel to get the luggage aboard. Aye, sir. Thank you, Captain English. You won't regret your choice. And now, if you'll just lead the way, Mr.

50:36 Slaughter. I watched him walk away, his monstrous bulk shadowing grotesquely in the foggy half-light, his great bull. Neck creasing into massive shoulders, his shaggy black hair wild and unkempt. I didn't like this man, this missionary, strange in his ways and manners. Yet I found myself thinking that, after all, he was a man of God. Perhaps later I would come to understand him. The fog was thicker now. I shook myself free of the depression I felt. Mr. Rangel. Prepare to cast off. We sail immediately. It was the third night out of Shanghai when Mr.

51:23 Slaughter brought the first trouble to my cabin. A fan only after, old sir. Come on board in Shanghai. Obviously, Mr. Slaughter. Come here, girl. I won't hurt you. Come here. What does your name go? I don't think she understands English, sir. Probably Chinese from the looks of her. I understand. What are you doing aboard this steamer? Must come on ship. What do you mean, must come on ship? Why? Must come. Look here, do you know what is done with stowaways? Stowaways? Yes, people who sneak on board a ship without paying.

52:06 I do not know. There's no place to put her ashore, sir, until we reach Bally. No, and yet she can't have the run of the ship. We could lock her in the empty cabin, sir. You forget, Slaughter, there is no empty cabin now. Mr. Walks is in it. Mr. Walk! Mr. Walk! No, Mr. Walks, girl. Mr. Walk! Mr. Slaughter, would you ask Mr. Walks to step into my cabin, please? Aye, sir, I'll only be a gentleman. I couldn't help but hear my name being spoken. May I be of service to you, Captain? I don't appreciate eavesdropping outside my cabin. Eavesdropping? My dear Captain, you do me an injustice. I was merely passing by.

52:47 As you say, Mr. Walks. Mr. Walks, do you know this young girl? Have you ever seen her before? What a charming child. What a delight. I'm sorry, Captain. I'm afraid I cannot help you. I have never seen her in my life. Mr. Wolk, you tell me now. After all, Captain English, you could hardly expect a man like myself to know a girl from what must obviously be a... well, a sordid livelihood. I have never seen this girl before. She came aboard this boat to be with you?

53:29 Mm-hmm. Did she tell you so? No, but it's obviously so. Even though I am dedicated as a missionary to aid and comfort the distressed, I do not feel obligated to lie merely to smooth the path for another's crime. This girl is obviously far beyond any spiritual help or material comfort that I could give her. Good day, gentlemen. Girl. Did you know this man in Shanghai? Yes. Did you know him well? Very well. He was my.

54:12 Yes. Very well. Slaughter and I talked with the girl for a long while, but we could learn nothing further. After more questions, useless ones, I had the first mate take her for him. Feed her and find her a bed. I would talk with Mr. Walks in the morning. Slaughter and I were eating breakfast and Mr. Walks came into the mess room. He sat down. His gigantic, obscene body overflowed from his chair across the table.

54:55 Good morning, gentlemen. I trust your nights were pleasant once. Mr. Walks, I want to talk with you about that girl. The girl? Oh, yes, a tragedy, a tragedy. I want you to tell me all you know about her. Then I'll decide what's to be done. What's to be done? Captain, you're overstepping your bounds. This is God's work. Now. What do you mean? Oh, dear. Dear you, you haven't, huh? And what, Mr. Walks? What is it here? About the girl, Mr. Slaughter, the poor, poor girl. What of her? It seems she met with an accident last night.

55:39 Accident? Yes, at least so I presume. There is some small evidence that she has left our ship now to ride in a mightier, more wonderful vessel. Perhaps even now she is riding across the heavens in a chariot of flaming gold. What are you talking about? A poor, demented girl sought succor in the depths of water about us. What? Her pitiful torn shawl lies amid the houses at the stand. She committed suicide sometime last night. Well, must I eat alone or will you. Gentlemen stay for a second cup of coffee?

56:28 In my own mind, I knew what had happened, and I'm sure Slaughter did. I felt certain Warkes had killed her and thrown her overboard. But there was nothing I could do. Four days later, we dropped anchor in the harbor of Yululong. The ship's officers and I were anxious to get our cargo. Unloaded and to know that we were rid of Mr. Warkes. I was in my cabin going through the routine of bills of lading and ship's papers with a port officer, a Mr. Matsys, new at the job and overcautious. About your passenger, he is a missionary?

57:08 Yes, yes, he came aboard in Shanghai. Captain, since there. Have been certain changes in Bali, we now have no need of such a person. This man's name is. Is what? Walks, the Reverend Mr. Walks. You do not usually. Carry passengers, Captain? No, no, we don't. Could I speak with this man? Yes, of course. Merely of formality. Of course. I'll have the mess boy locate him. Be only a minute. Captain English. Oh, I was looking for you, Mr. Walks. For you. The port officer would like to see me. I overheard. But first, let me give you this. Two hundred dollars. What's this for?

57:49 The use of a lifeboat. What are you talking about? A lifeboat, Captain. I need one to get ashore. You wouldn't have me swim. The port officer wants to talk with you. Come along. Wait, Captain. Walks, I am as anxious to have you off my boat as you are to leave. You can only go ashore in the proper way at the proper time. This is your last chance. Yours as well as mine. Let me go ashore now or take the consequences. You'll search the four corners of the globe looking for this minute. Don't let it slip through your fingers. There's an eternity in it. You have to be in English. This man is not a missionary. His name is not Vox. All Indonesia is close to him.

58:40 What? You mean he can't land? Oh, no, no, this is ridiculous, Mr. Metz. This man doesn't belong to me. I refuse to be burdened with him. You have no choice. He's on your ship. He belongs to you. This man booked passage from Shanghai to Bali, and I refuse to take him further. I am sorry, Captain English, but this is not my concern. During the time you are in port, a police guard will be placed on this man. He will not be allowed out of his cabin. When you sail, he will sail with you. Who is this man? Call him a murderer, an anarchist, a revolutionary.

59:20 It does not matter. During the recent trouble here, he fought on both sides. And profiteered from both sides. As I said, Indonesia is close to him. Your papers are on order and stamped, Captain. Good day. I warned you, Captain. You should have let me go. You should have let me go ashore in the lifeboat. For now, in the time ahead, you are going to see a great deal of your passenger to Bali. Yes, a great deal.

1:00:13 Escape under the direction of Norman MacDonald is bringing you Ellis St. Joseph's great play, A Passenger to Bali. It was the sixth week, 42 days before we had taken on a passenger in Shanghai bound for Bali. Three days after he boarded the ship, he had murdered a young girl, a stowaway. We all knew he had, but we couldn't prove it. Now we were anchored outside the harbor of Bangkok. I was in the deckhouse and Mr. Slaughter rapped on the door.

1:00:58 Well, Captain, what's the news? Bad, I'm afraid. Walks hasn't been refused again. Again? Just as he was in Macassar and Lembang and Batavia... Same words, the same reasons as in Bali. Except in English. There was a fight in the folks this morning. One of the men hurt bad. And it was because of walks. Who were the men? Abel Seaman Coles and Duncan, sir. Coles and Duncan? They're friends. Yes, sir, they were. It's all Mr. Walk's doing, sir. The three of them were arguing about something and suddenly the fight starts. Duncan was cut heavy in the chest.

1:01:42 Walks just sat by. Where is he now? In the mess, sir. I'll be right back. Wait here. Mr. Walks. Mr. Walks! Oh, Captain English, I didn't hear you come in. I was reading. The Bible, as a matter of fact. Did you want to speak with me? I am told you are directly responsible for an injury sustained by a member of my crew.

1:02:22 Oh, yes. That tragic episode between Duncan and Coles, I'd almost forgotten. I could have you put in irons. For what reason? I did nothing. The men were discussing religion, and I was simply pointing out certain points to each. They went at each other with knives. Like children in the fever of the moment. Yes. Was there something else you wanted, Captain? Mr. Walks, I. Well? No. Walks had dismissed me. Dismissed me and my own ship. I had to get rid of this man. His personality was infecting us all. In the past month, he had come to order about the lesser members of the crew.

1:03:10 He had his meals served whenever and wherever he wished. He drank liquor from my own locker. As I watched the harbour traffic of Bangkok, I knew there was only one thing to do. Mr. Slaughter. Aye, sir. We will weigh anchor. How do we shape our course, sir? Southeast by east, three quarters south. Aye, sir. Southeast by. That's Shanghai, Captain. Yes, Mr. Slaughter. That's Shanghai. On the two weeks return trip to Shanghai, I began to feel myself a stranger on my own ship. The trim little China Seas freighter was becoming a floating prison, and the jailer was Mr.

1:03:55 Walks. My Kanaka crew, emotional and superstitious, were in love with him. They worshipped him, worshipped his massive body and his liquor-fed eloquence. My deck officers and I could feel control slipping through our fingers, and we were powerless to do anything about it. Then, finally, it was the last night. Tomorrow, we would anchor in Shanghai. And so we're back to where we started from. But at least we'll be rid of him. I hope there's no slip-up this time. There won't be. There won't be. Yes, Shanghai is as anxious to capture him as every other port was to reject him. They won't risk his escape. What's he done, Captain?

1:04:36 Walks has been mixed up in something foul in every country he's touched. Heaven only knows what crimes he's committed. But shortly we'll be free of him. Let's have a drink to that. Don't mind, Captain. Get a new bottle out of the sideboard, will you? Here are the keys. Good. Just put it here. And two glasses. You should make it three glasses. Well, gentlemen, surely you will invite me to join you. No, Mr. Walks. Will not. Then I shall have to help myself. I think I'd better get out on deck, Captain.

1:05:17 You'll excuse me. Wonderful, wonderful. Too bad poor Mr. Slaughter couldn't stay. Glad you enjoy my whiskey? You have good taste, Captain. Good taste in everything. Whiskey, boats, the roundabout is an ideal little steamer. You might almost say I. Found a home here. Are you packed, Mr. Walks? A comfortable cabin, good food, now that I've schooled your cook. A well-stocked liquor cabin. Are you packed, Mr. Wilkes? No. No, I am not packed. You haven't much time. Tomorrow we'll be anchored at Shanghai and you'll be taken away.

1:05:59 My hope to jail? You could be wrong, Captain. It might turn out that I shall stay forever aboard your ship. Ha! Until eternity walks. I've never liked you Not since that first night when you came aboard in Shanghai, you're filthy. You're rotten unclean You're a murderer by your own influence. This is no time for heated argument Drink a toast with me captain. You've got into the very core of the ship with your ruttles. I chose you seduce the whole crew the Kanaka deckhands the mess boys Every day they're becoming more slovenly, more lax. Very well, I shall drink a toast myself. To the roundabout.

1:06:41 May the comforts I've come to enjoy be not lost too soon. I'd sink my ship before I'd allow you to stay aboard her one day longer. Perhaps Shanghai will present an answer to surprise us both. When this ship leaves Shanghai, Mr. Walks, it will leave free of you. Now, Good night, sir. It was in the sweltering noon of the next day that Mr. Chisholm, the British consul at Shanghai, was seated in my cabin, a long drink in his thin hands.

1:07:23 Captain, the Chinese port authorities have told me of your predicament. I am to handle it in my own way, sir. according to their instructions. I don't understand. Well, it's extremely simple. In every spot, every port, every town in which this man sets foot, some sort of trouble's broken out. I know this, sir. I cannot be sure this man is responsible, but after all, the law of averages. Mr. Chisholm. I want this man off my hands. How soon can you arrange this? I'm afraid I didn't make myself clear. Shanghai does not want him. Neither does the British consulate.

1:08:04 But this man is a criminal. Oh, Mr. Walks would certainly be arrested the moment he set foot on land. But he'll not be given that opportunity. Now, look, Mr. Chisholm, you've got to take that man ashore. Oh, I'm afraid your now famous passenger is a man without a country. I expected to sail him around the world the rest of my days. I'm sorry, Captain English. I'm sorry. You will depart at your earliest convenience. Good day, sir. Good day. And so we sailed from Shanghai, the roundabout and Mr.

1:08:44 Walks. In the weeks that followed, a great shadow lay over the ship. Grangle, the second mate, fell ill, stayed in his cabin. Slaughter began drinking even during his watches. The ship seemed to smell of evil. Mr. Walks became the real captain of the roundabout. Then, sweeping in from the edges of the China Sea, came an even more destructive power. Typhoons. The barometer had been falling for three days, and it was on the forenoon watch that the storm hit with its full impact. For seven hours, the roundabout wallowed through the seething masses of water. Then an emergency call from the quartermaster brought me to the bridge. I went into the wheelhouse.

1:09:36 The power unit and the rudder control has gone out. Where's the mate? Went out, sir. Trying to correct the traveller. We're on manual operation now, sir. You'll need another man to help you. Get help. But, sir, you can't... I can handle it till you get back. Hurry, man. If this thing gets out of control and starts spinning, the rudder will tear itself free in a matter of minutes. Now go on, man. Hurry. Aye, sir. With his steam-powered gears to help me, each wave that hit the shuddering ship made the great wheel come alive beneath my hands. I stood, feet braced against the wild pitching of the vessel, shoulders and arms straining to retain control.

1:10:18 I tried to gauge the monstrous waves rushing toward us, tried to ease the groaning ship through millions. Of tons of lashing water. My muscles pulled and ached as each gray-green monster hit. I could hear nothing over the scream of the storm. I turned, looking for the quartermaster. And in that second it happened. I had been flung off the wheel like a marionette and now it spun free, spinning one way and then the other with each roll of the ship. I tried to get to my feet. My leg was twisted under me.

1:11:01 My ship! What have you done to my ship? Walks! Get a rope. Stop the wheel. I'll stop it. No, no, no. It'll chop your hands off. Get a rope. No time. Get a rope, you fool. It'll kill you. Walk. Stay away from it. I'll stop it if I have to smash it. You've done it. You've got the wheel on your back. I've got more than the wheel. I've got the whole ocean on my back. Can you hold it a minute longer, Wox? I'll help you. Hold on until I get there.

1:11:52 Never mind, Captain. It will not be necessary. What? What did you say? The rudder has just snapped. I'm holding. Nothing. The next morning, the storm was gone. Gone as quickly as it had come. Replaced by a thick, yellow, clinging fog... through which the roundabout floated... broken, wrecked, sinking... A wireless gun, half her crew dead. She might go in half an hour, or she might last a week. But I had the safety of my crew to think about.

1:12:45 My ship. I had given the order to abandon her. Like rats, we leave the sinking ship. Leave room for me up forward. I have need to stretch my legs. You won't be with us this trip, Mr. Walks. My luggage is not aboard the lifeboat. You're staying aboard the roundabout. I've left you a sextant. There's plenty of food and liquor. Even enough for you. I'm not going. No, you're not going. The ship is yours now. Do with her what you want. But that's murder. You're murdering me. I have no idea how soon the ship will sink or even if she will. You may be picked up today or tomorrow, or you may float here for years.

1:13:29 Captain English, we. Stay where you are. But look, Captain, I... This gun can speak even above your voice, Walks. This is for the last time. Goodbye, Mr. Walks. Wait, Captain. Hey, it's not man's province to judge. No creature under your wings should be left to die. With no mercy. With our compassion. With our. All right then. Row, you fools. Row. Even now you may not have seen the last of me. Row.

1:14:15 And so I left the roundabout. I left everything I owned. Everything except my freedom. The roundabout grew dimmer in the fog, and the figure of a man standing well forward in the bow of an empty ship was the last thing I could see before the fog closed in. Under the direction of Norman MacDonald, Escape has brought you A Passenger to Bali by Ella St. Joseph, especially adapted for radio by Mr.

1:14:56 MacDonald. John Daner was starred as Captain English with Lou Merrill as the Reverend Mr. Walks. Featured in the cast were Lou Krugman, Michael Ann Barrett, Wilms Herbert, and Bruce Payne. The special music for Escape was composed and conducted by Ivan Ditmars. Next week, escape with us to the Old West and the unusual story of a man who was a merciless professional killer, but who fought on the side of law, as Ernest Haycox tells it in his exciting story, Wild Jack Wrecked. Stay tuned now for Make Believe Town, which follows immediately on most of these same CBS stations. This is Roy Rowan speaking. This is CBS where you spend an hour with Frank Sinatra every Sunday afternoon on the Columbia Broadcasting System.

1:16:05 My dear, you seem... a bit peaked. Perhaps that kind of travel was a bit hard on you. I could understand such a thing. It's not always easy. Travel is brutal, not only on the mind, not only on the body, but on the spirit. The spirit, of course, being paramount in, well, In my case, I suppose. No, for this next one, how about we relax and... and take a slower pace.

1:16:48 We'll embark, presently, on a country road. Autolite and its 96,000 dealers present Suspense. Tonight, Autolite brings you On a Country Road, a suspense play starring Mr. Cary Grant. Relax, David. There's no hurry to get home.

1:17:28 Who can relax in this mess of traffic? There must be a wreck or something up ahead. If this keeps up, we'll get caught in the rain. Yeah, it looks like a big storm building up, too. Hey, remember that shortcut? Which one? The little tarred road that goes across who sent the marches and comes out on the other highway. The one we took last summer? Yeah. I'll turn off there and duck this pile up. I'd like to get as far as possible before that storm hits. Why don't you put out your hand? Don't get mad. He cut right in front of me trying to turn into that gas station. Maybe he needed gas. Turn on the radio, huh? Well, there. Sounds like news.

1:18:10 Turn it up, dear. Oh, my mother-in-law. At least we aren't the only crazy people on Long Island. Why did you change it? I don't want to listen anymore. Let's get home quickly, David. I don't like being out here with that woman running loose. Oh.

1:18:50 Here's the storm. Roll up the windows. In just a moment, Mr. Cary Grant in the first act of On a Country Road. Amazing, Wilcox, amazing. What's so amazing, Senator? Your victory in the election. My candidate's victory, Senator. The famous Autolite stay-full battery. The battery that needs water only three times a year in normal car use. Why, everybody voted for the Autolite stay-full battery. You had plenty in reserve, Wilcox. Reserve? Why, the Autolite stay-full battery has over three times the liquid reserve of batteries without stay-full features. Didn't you campaign with fiberglass retaining mats?

1:19:30 Sure did, Senator, because every positive plate of the Autolite stay-full battery is protected with a fiberglass retaining mat to prevent shedding and flaking. and keep the power-producing materials in place. Why, your candidate is in for life, Wilcox. Longer life, Senator, because the Autolite stay-full battery gives 70% longer life as proved by tests conducted according to SAE minimum life cycle standards. So, friends, get acquainted with the Autolite stay-full battery, the battery that needs water only three times a year in normal car use. See your neighborhood Autolite battery dealer now. And remember, you're always right with Autolite.

1:20:11 And now, with On a Country Road and the performance of Mr. Cary Grant, Autolite hopes once again to keep you in suspense. Autolite Why don't they put her to sleep instead of just locking her up where she can escape and kill more people? Put who to sleep? That woman they were talking about on the radio.

1:20:53 Oh, she can't help what she does. She's sick. What good does that do the people who get chopped up with a meat cleaver? I don't know. The laws were made before the doctors knew very much about the human mind. I still don't know much. I can see what it is. There's a roadblock up ahead. What's happened? I don't know. Cops all over the road. David, I'll bet they're looking for that crazy woman. I guess so. I'll hold it a minute. What's up, officer? Just to check up, folks. Anything in the back seat? Only the blanket and the lunchbox. We went on a picnic. Yes, ma'am. Seen any hitchhikers? No. Just traffic. Okay. Move right along, please.

1:21:38 Are you looking for the crazy woman? Open the door. Let's go. He didn't answer. He's busy. What are you doing? All residents and motorists on Long Island are warned to be on the alert for the escaped insane woman who is somewhere on the island. She is described as tall, broad-shouldered, gray-haired, and rather heavy. She may still be armed with the cleaver. One hundred men are searching the area, and they're prepared to shoot on sight. Here's another bulletin on the case which just came in. Just a few minutes ago, the decapitated bodies of an elderly man and woman were found by police near Center Moriches. Now, here's the shortcut. We haven't found her yet. This will get us out of that traffic. I repeat that. The bodies of an elderly couple have just been found in their car near Center Moriches on a lonely, tarred road. Police are certain they were killed by Nellie Guller, the insane woman now at large. Residents of the area are warned not to open their doors to strangers. Motorists are cautioned to stay off lonely roads and not to pick up any hitchhikers. All persons are asked to be on the lookout for this woman. Here is her description again.

1:22:36 They haven't caught her yet. Better turn that off, darling. I thought you wanted to hear it. That's enough of it. This shortcut will save us a lot of time. You turned off the highway. Sure, I told you when I did it. We've come over a mile already. Save us a lot of time. David, didn't you hear what the radio said about staying off lonely roads? We only have to go across the other highway. It won't take long. You sure? Of course. We go past Santa Marich's, then take the left road and come out right by the highway bridge. Santa Marich's is where she just killed those two people. Oh, no, no, no. What can happen to us while we're driving? Besides, the whole island is full of men looking for this lunatic. They'll catch her. It's just the storm. Come on, quiet down.

1:23:19 You're jumping. I guess I'm silly. David. What? The gas gauge says empty. There's still a couple of gallons left when it points to empty. How long has it said empty? Don't know. I'll get gas when we get across to the other highway. David, I'm scared. Relax, honey. Rain and wind always make you nervous as a cat. I wish we'd stayed on the highway. If I'd known you'd act like this, I would have. Well, it's not my fault. It's not mine either. I'm having trouble enough just trying to see through this storm. David, let's not fight. Driving through these burned-out woods in this kind of weather is enough to give anyone the willies.

1:24:02 Oh, goodness, it got dark so fast. I can hardly see ahead, even in the headlights. There's something ahead. Don't stop, David. It's only a sign. David, the crazy woman could be around here. I'm not picking up anyone. I just want to know where I am. Don't get out of the car. I'm not. Calm down. Let's see. Send her Marge's address. Now, we'll take this road. Send her Marge's. This must be the road where she killed those people. Dorothy, please. I'm sorry. I'm so jumpy.

1:24:43 Turn on the radio. Oh, this is a desolate place. We haven't even passed a house yet. Miles of woods on both sides of it. So dark we couldn't have seen one if it were there. This rain seems to be getting worse. David, I'm just sure this is the road where that woman killed those two people. Oh, now stop that, Dorothy. That's why the police had a roadblock by this road. That crazy woman might be any. Place in these woods. But not necessarily where we are.

1:25:26 Oh, fine. David, what's the matter? Oh, that's fine. What a place to run out of gas. Oh, no. David, you mean we're stuck here? I'm afraid so, for the time being, anyway. I'm sorry, dear. That crazy woman is in the woods. She'll kill us. She's nowhere near us. David, quick. Turn off your headlights. Why? Did you hear something? David, I don't know. I don't know, but I'm scared. Hmm. I guess I should have got gas. Oh, turn off the headlights, please. Why? She'll see us. If you don't. We won't see her if I do. Please, David, turn them off. Oh, now, listen, Dorothy. Don't let this silly thing get the better of you.

1:26:12 Oh, just look at the headlights. Hooking into darkness and nothing but wet bushes and trees. Rain falling. Please, David. Oh, all right. There, now they're off. Do you feel better sitting in the dark? Only the thunder and lightning would stop. And this rain. Look, Dorothy, there's no sense sitting here all night. It's only a few minutes past ten o'clock. I'm going to walk up the road a bit. There might be a house or something there. You're not going to leave me here. I won't let you go. Dorothy, we can't sit here in the middle of nowhere for the rest of the night. We're safer here than out there. David, she's probably hiding in the woods. She's just waiting for a chance to kill us.

1:26:58 Oh, come on, Dorothy. Why should she be right where we run out of gas? Why can't she be here? Please stay in the car. All right. Lock the doors from the inside. Why? What is it? Now she can't get in here. She's nowhere near us. Don't be mad at me, David. I'm so scared. Well, if she's out there, she can easily smash the windows. Oh, don't scare me anymore. I know I'm acting silly. I can't help it. Come, let me put my arm around you. There. Oh, David. Put your head on my shoulder. Forgive me, David. Go ahead and cry. It'll make you feel better.

1:27:43 David. Isn't there some popular music? We're now in search for the escaped insane woman who has killed five persons in fleeing from a Long Island mental hospital. Rain and darkness are hampering the search. Over 100 police are combing the wooded area near Center Morridges. It was near there that an elderly couple were butchered on a lonely, tarred road. In making her escape this morning, the madwoman killed a doctor, nurse, and. Let's leave it out for a. While, huh? It's so quiet and lonely here. Wish it were morning.

1:28:28 Look, Dorothy, I'll run up the road. There might be a house. No, no, David, please. David, listen. Did you hear that? What? I don't hear anything. Listen. There it is. No, I can't. It's a dog. A little dog barking. David. Well, I guess it's only a lost dog. Maybe there's a house nearby. Who are the crazy ones? Oh, David! She's out there. Something hit the back of the car. It's her. Is the door locked on your side? Yes, yes.

1:29:09 What if she breaks the windows? She's got a cleaver. In that flash of lightning, I saw somebody. Is it the crazy woman? I can't tell. She's lying on the road. Can you see her? Is she still there? It's too dark to see. I have to wait for the lightning. I saw her. She's getting up now. She'll kill us. She'll kill us. Calm down. Please. What is she doing? I don't know. She must have been running. She didn't see the car and ran right into it. She's at the window.

1:29:49 Right next to you. Oh, my Lord. Look at her. Get away from that window. David, she's trying to get in the car. Look at that face. And her hair. Go away. Let me in. I'm not crazy. The crazy woman is after me. David, don't let her in. Let me in. Natalie, scare her. Go away. Go away. We've got a gun. We'll shoot. It worked. She's staring at us. I'm warning you. I'll shoot. David, she's coming back. Please, don't let me out here. Please. That woman will kill me. Please.

1:30:30 David, take your pipe. Hold it like a gun. It'll look like a gun. Where is it? In the club compartment. Here. Here it is. Look. I've got a gun. I'm going to shoot. She's backing away. Keep going before I start shooting. She's gone. She disappeared. We can't get out now. All we can do is sit here all night and wait for help. Can you see her? Where did she go? I don't know. She's out there, though. Probably planning on how to get in this car. David, what are we going to do?

1:31:11 She's the one I know. She didn't have a cleaver. She must have dropped it when she ran into the car. Her face was all twisted and her hair hanging down. She's back there looking for the cleaver now. She'll kill us. She'll kill us. Dorothy, stop it. She'll kill us. Dorothy! Dorothy! Dorothy! Dorothy! Dorothy! Autolite is bringing you Mr. Cary Grant with Kathy Lewis and Jeanette Nolan in On a Country Road. Tonight's production in radio's outstanding theater of thrills, Suspense.

1:31:58 Suspense. Hey, Wilcox, what was your platform? Why, the Autolite Stay Full battery, the battery that needs water only three times a year in. Normal car use. Go on, Wilcox. Well, we pointed out that the Autolite Stay Full has over three times the liquid reserve of batteries without Stay Full features. Amazing. Ah, but that's not all, Senator, because we pointed out, too, that the Autolite Stay Full gives longer life, 70% longer life, in fact. as proved by tests conducted according to SAE minimum life cycle standards. Then there's fiberglass retaining mats protecting every positive plate to prevent shedding and flaking and to give the Autolite Stay Full scintillating superiority.

1:32:48 How is your plurality, Wilcox? Sensational, Senator. We got all but one vote. Why, that's positively preposterous. Sure is, Senator, because everybody's heard of the Autolite Stay Full battery... the battery that needs water only three times a year in normal car use. So see your neighborhood Autolite battery dealer. And remember, you're always right with Autolite. And now Autolite brings back to our Hollywood soundstage Mr. Cary Grant in Elliot Lewis's production of On a Country Road. A tale well calculated to keep you in suspense. THE END.

1:33:44 The window. David, she broke the window. Get away from there. Stay out of the car. I'm coming in. I can't stand it. Now stay out of the car. I warn you. I've got a gun. You wouldn't shoot me. Go away. You're crazy. We know all about you. I'm not the crazy woman. Believe me. Let me in. Don't do it, David. She's trying to trick us. Listen to me, please. I've been running in this awful storm. My car is stuck in the ditch back there. How far back? I don't know. It seems like miles. I heard about the crazy woman on the radio. I was afraid to stay in the car alone. Let me in. No, David. Go back to your own car. No. It's so dark and so lonely in this storm. I locked the doors, but I was afraid I could see things and hear things in the darkness. I couldn't stand it anymore. I got out and I ran.

1:34:32 It's the rain. That's why I look like this. I'm not the crazy woman. Darling. Maybe she isn't a crazy woman. Maybe she's just scared and exhausted. Let me in, please! Let me in! No, David, no. She's the one I know. This crazy woman had a cleaver. I'm not armed. The three of us will be safer together. No, she makes sense to me, Dorothy. We would be safer with one more person. Oh, David, I don't know. Let me in, please! I'm wet to the skin. I'm going to unlock the door, Dorothy. David. All right. Now, get in. One move and I'll shoot you. Oh, it's good to sit down.

1:35:14 All right. Now, there's a blanket on the floor back there. Try and dry yourself off with it. The darkness, the rain. There's enough to drive me. Out of my mind. Just take it easy, lady. I ran and ran. All I could hear was feet chasing after me, hunting me. You live near here? Farther out. Near Restview. I used to live in Brooklyn. Restview is the mental hospital. I know. I'm used to the crazy people. But not a night in a lonely place like this. Not the kind who kill people. You live at Restview?

1:35:54 No. Just near there. David. We can't sit here not knowing. If we could get to a phone. A phone. Why? To call the police. Get some help. No! Don't do that. Why not? Why don't you want the police? Oh, I do. But you'd be killed. What do you mean? The woman. She'll kill him if he goes away from this car. Oh. There's that dog. You hear it? Somebody's out there. There must be a house up ahead. Maybe it's barking to be let in. No. It senses somebody. There's somebody out there. The crazy woman's creeping around out there.

1:36:37 Quick, let's get away. Look out, David. Let go of me. What are you trying to do? Start the car, quick. We'll get away. We're out of gas. Out of gas? I don't think we parked here for the fun of it, do you? Oh, such a desolate place to run out of gas. Stop barking. What does it mean? You can't just sit here. We've got to get away. I'm not a magician, lady. I can't make gasoline out of rain. Oh, we can't stay here the whole night. You hear me? Let go of me. There's nothing I can do. Try something, anything. Don't just sit there.

1:37:18 She's scaring me. David, stop her. Cut it out. Cut it out. You'll have us all in hysterics. All right. All right, I'm sorry. Look, I got an idea. Give me your gun. What for? What for? I'll tell you. I want it. Give it to me. Listen to me. I'm all right. But I can't sit here all night. I go crazy. Give me the gun. I'll go. I won't be afraid of the dark, the noises, the feet following me. I'll go. I promise you. Give me the gun. No, now sit down. Please. I'll go. I promise. I can't stand sitting in the dark like this.

1:38:00 Can't you stop her, David? I told you to shut up. If you don't, you'll have to get out of the car. Not into the woods again. Oh, you're nice people, aren't you? Or do you want me to leave so you can shoot me? Is that it? We're not going to shoot you. We don't have a gun. It's only a pipe. A pipe? A smoking pipe? David, I'm sorry. Then. Then you're unarmed. I'm sorry, David. Why did you tell me you. Had a gun? What difference would it make to you whether I'm armed or not?

1:38:43 I don't know you. Maybe you two are more dangerous than the crazy woman. I'll tell you what I think. I think you're the crazy woman. The way you grabbed David when you wanted him to start the car. Dorothy, stop it. Don't excite her. Don't excite me? Why? Do you think I'm dangerous? An old woman you took into your car, two of you, and you're afraid of me? I'm not afraid of you. Now sit back in the seat and don't try anything. David, the storm is stopping. Maybe now is the time. The time for what? What are you going to do? You two are up to something. Oh, shut up. My wife meant now is the time to go for help.

1:39:23 I did not. I meant now is the time for us to escape. David, can't you see it? She's the one. She'll kill us. You little. Oh, stop it. Sit back in that seat. You haven't got a gun. No, but I've got a knife. David. It's my jackknife, but it's sharp and strong, so don't try any tricks. All right. Threaten me. Watch me while that woman is out there. All you can do is sit and wait for her to make the next move. She can kill us like that old man and woman. It must have been on this same road. They were in their car, too. They must have let her in. We'll leave, then. The three of us will walk. We'll stay close together. We'll be quiet. Anyone hiding in the woods won't hear us.

1:40:04 Don't get out of the car, David. Oh, how will we find our way? It's too dark. We'll find our way. Look out there. The road's full of shadows. Get her out of the car, David. She wants to kill us. Kill you. Look, if you want to go, why don't you leave? We're going to stay here until some help comes. Oh, I'd be helpless alone if I had a gun or something. Your knife. Oh, why doesn't somebody come? Where are the police? I can't stand this. Nobody will come. There's no one in these woods. They're burnt out and deserted. Dorothy, come on, please. It was your idea to use this road. I know it. He wouldn't listen to me and stop again. I couldn't help it. I got lost.

1:40:45 Why don't you do something? Not just sit here waiting, waiting. Do something before we're murdered. Are you so helpless? All right. I am going to do something. I'll go for help. That's it. Get help. David. In her hand. I saw it in the moonlight. It's glittering. What is it? Your wife is hysterical. She was holding it. A long piece of broken glass, long and pointed. See? She doesn't answer. She's just watching us.

1:41:27 What is she waiting for? It's from the broken window. That's where she got it. So what if I have it? I'm not going to sit here defenseless. She's going to attack us. Don't be silly. It was all right for you to have a knife. Why can't I be armed for whatever may come? Give me that broken glass. Give it to you? You think I'm crazy? You couldn't protect us from anything. David, what are you doing? Why are you climbing over the seat? I'll warn you. I'm through letting my wife be terrified. Give me that glass. Stay away from me! You were going to butcher my wife with that broken glass. No!

1:42:08 No! David! David! Give me that glass! You're crazy! Let me along! Hold her, David! Hold her! Don't let her free! I'm strong! I've got my arm! You'll kill me! Drop that glass! Have you both gone crazy? He's trying to kill me. Like you were going to murder us. No, I wasn't. Don't let her get free. I can't hold her. She's strong. If you have a knife, then I'll have glass. David, David, hold her. Much longer. I'm not crazy.

1:42:49 Please believe me. She's got my throat. She's choking me. Your knife. David, your knife. David, David. David, you. You killed her. David, you killed her. I couldn't help it. I couldn't... You're covered with blood. She was going to kill us. Here's some lights. A car is coming. Help's coming. Help's coming. Hey there, you in the car.

1:43:34 Why are you parked here? It's the police. Headline. We ran out of gas. The crazy one. What a night to run out of gas. You couldn't have picked a better spot. What with that woman running around loose. Officer, we want to tell you. A farmer up the road called and said his dog's been barking at something. We caught her. Who'd you catch? The crazy woman. She's in the back seat, dead. What? No. No, she's alive. Hurt bad, though. She was trying to kill us. Well, we'll get her to a hospital. You two had better come with me. We captured that crazy woman a half hour ago. I don't know who this lady is.

1:44:18 THE END. Suspense. Presented by Autolite. Tonight's star, Mr. Cary Grant. Wilcott, did your candidate's entire ticket. Get into office? Yes, sir, Senator. Along with the Autolite Stay Full battery, the voters elected all of the 400 products made by Autolite for cars, trucks, planes, and boats in 28 plants coast to coast. These include complete electrical systems used as original factory equipment on many leading makes of America's finest cars. Generators, coils, distributors, voltage regulators, electric windshield wipers, wire and cable, starting motors, all engineered to fit together perfectly, work together perfectly, because they're a perfect team. So, friends, don't accept electrical parts supposed to be as good. Ask for and insist on Autolite original factory parts. at your neighborhood service station, car dealer, garage, or repair shop.

1:45:31 Remember, you're always. Right with Autolite. Next week on Suspense, for your Thanksgiving holiday listening, Mr. Ozzie Nelson and Miss Harriet Hilliard as stars of Going, Going On. And in the weeks to come, you will hear such famous stars as Van Heflin, Alan Ladd, and Cornell Wilde. all appearing in tales well calculated to keep you in. Suspense. Suspense is produced and directed by Elliot Lewis, with music composed by Lucian Morawack and conducted by Lutt Bluskin. On a Country Road was written for Suspense by Walter Bazar.

1:46:14 And remember, next week on Suspense, Ozzie Nelson and Harriet Hilliard in Going, Going, Gone. You can buy Autolite stay-full batteries, Autolite standard type or resistor type spark plugs, Autolite electrical parts at your neighborhood Autolite dealers. Switch to Autolite. Good night. This is CBS, the Columbia Broadcasting System. My dear.

1:47:00 It seems that went a little easier on you, and on myself as well. I can't pretend that I have much left in the way of sea legs or what have you. No, I can't say I get out very much at all. But that doesn't mean my... my mind stays in one place. Oh, no, no. That's never the case, not this. Not for me. No, my... My mind is anything if not a determined traveler.

1:47:40 The Signal Oil Program. The Whistler. F-I-T-M-A-L. Signal. Signal Gasoline. Signal, the famous go farther gasoline, invites you to sit back and enjoy another strange story by the Whistler.

1:48:37 I am the Whistler, and I know many things, for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. And now for the Signal Oil Company, the Whistler's strange story, Determined Traveler. Standing in the lobby of the Hotel Continental in Pisa, Italy, with a group of some 20 other tourists, Clara Marshall, age 25, and attractive enough to draw attention anywhere, was smiling quietly to herself, and with good reason.

1:49:25 Yes, Clara, for the past eight. Months you've handled things perfectly, haven't you? Wanted by the Chicago police for your part in a series of fraudulent stock transactions, you slipped out of town and covered your tracks so successfully, they lost all trace of you. Some weeks later, in a Los Angeles bookstore, you casually made the acquaintance of elderly, wealthy Harriet Wilson. And you took full advantage of this chance meeting, didn't you, Clara? Yes. Now you're not only her trusted employee, but her friend and traveling companion on a tour of Europe. waiting on a foggy Italian morning to accompany her on a guided tour of Pisa.

1:50:05 Sorry, ladies and gentlemen, but I'm forced to cancel today's tour. Too foggy. Oh, but, Guy, the streetcars are running. You needn't drive the bus. I'm sorry, Miss Marshall. It would be impossible to take a group this size through the foggy city on streetcars. It's too dangerous. But we don't plan to come through this city again. And Miss Wilson had so counted on seeing the Leaning Tower. Isn't that right, Harriet? Yes, I had looked forward to it. And you know we're leaving this afternoon. Please, guide, won't you reconsider? Miss Marshall, in the interest of the group as a whole, I. I'm sorry, really. Pardon me, pardon me, miss. I couldn't help overhearing it. Seems a shame that visitors who are so interested in seeing historical places shouldn't see them.

1:50:45 Well, it looks as if not much is going to be done about that. Well, I was going to suggest that I'd be glad to take you to the Leaning Tower. It really isn't far from here. Oh, would you? Oh, that would be wonderful, wouldn't it, Harriet? Well, why, yes, it would. Well, good. Let's not lose any time. This way, ladies. You smile, don't you, Clara? Leaving the hotel and boarding the crowded streetcar. And as you steal a glance at the stranger, you notice that he's studying you, too. Very closely. As if memorizing every detail about you. Harriet, meanwhile, is quite excited about the whole adventure as the car rattles along the street.

1:51:29 Clara, just think about going through the streets of Pisa, in the park, and on a streetcar. It's all so thrilling. It was nice of you to offer to escort us. It means a lot to see places we've seen in pictures so often. I want to go to the top of the tower and look down. I say that's where Galileo proved his theory about weights falling at the same rate of speed, you know. Oh, yes. I'd like to try dropping something. Oh, you'll have to excuse me, ladies. I'm sorry. I won't be able to take you to the tower today, after all. What? Well, you said it wasn't far. I'm really sorry, but it's unavoidable. Let's get off at the next stop. Seems we have no choice. Oh, but in this fog. You'll be all right. Get off at the third stop on the returning car, and you'll be right at your hotel.

1:52:10 As we'll remember. I'm sorry, really. It's just that I have an important appointment. It's later than I realized. This just isn't my day. Thanks anyway, Mr. Hungate. Raymond Hungate. I'll see you later. Goodbye for now. As the three of you step from the streetcar, Raymond slips something into your pocket, quickly puts his fingers to his lips to silence you, and suddenly he's gone into the fog. As you look around, you. Notice two men who left the streetcar just before it pulled away hurry off in the same direction that Raymond took. You feel sure they're following him, don't. You, Clare? Harriet seems concerned only with watching for a returning car.

1:52:51 She seems relieved as it appears. My goodness, I'll be glad when we get back to the hotel. Little did I think we'd be left here in the fog. I'm sure it'll all work out okay. Don't worry, dear. But he seems such a nice young man. Well, we tried, Harriet. Can't win every time. Well, back at last. This hotel room looks good to me. My, to think he offered to take us there only to leave us stranded in the middle of a strange city in the park.

1:53:32 I believe he meant to take us, but something he couldn't help caused him to leave. Perhaps you're right. Now that we're back safe and sound, I'll admit it was a thrill. And he was nice looking, wasn't he? Yes. And it seemed he was going to be an interesting guide. He was an American, but seemed very much at ease here in this foreign land. I wonder where... Harriet, I believe it's best not to discuss this with the others on the tour. Oh, maybe you're right. They'd have a laugh on us if they knew the details. Let's admit we didn't get to the tower, but forget the rest. You're right, my dear. I wonder what the others are doing now. I'm probably playing bridge. Why don't you go down and see if they have enough for full tables? I believe I shall. Don't you want to come along? Not right now, but let's keep this our secret.

1:54:23 Between you and me, I believe we'll see Mr. Raymond Hungett again. Oh, I do hope so. My, isn't this romantic? Wouldn't it be something clearer if you met your future husband. Here in Italy on a foggy day? We're going overboard, Harriet. It's time you joined your friends. All right, but I like the idea anyway. You'll join us soon. In a little while, Harriet, yes. You feel relieved when the door finally closes, don't you, Clara? And you cross the room quickly. Get Raymond's package from the pocket of your coat. You unwrap it, open the box carefully, and gasp as you view its contents.

1:55:13 A necklace. A beautiful diamond necklace. A necklace. You're startled, aren't you, Clara? As you wonder if a fortune in jewels was actually thrust into your hands, if the diamonds of the necklace are real. It seems unlikely that a perfect stranger would entrust you with something so valuable. But as the tour moves on to the city of Rome, you manage to leave Harriet for a short time and seek out a reliable-looking jewelry store. I want to see if the clasp on a necklace is all right. I'd be very glad to help you, missus. Here it is. Que bella cosa.

1:55:55 My, how beautiful. And so well designed. Worth many thousands of American dollars, eh? Well, I suppose. But it is a miss, I know. A very valuable piece. Are the clasps all right? Yes, yes. It seems in perfect order. But it is well to be careful. Thank you so much. You see, my employer wanted to wear it tomorrow evening, but wanted to be sure that it would be safe. Oh, yes, yes. I understand. Now, could I show you anything while you're here? Not now, thank you. But what you tell me about the necklace is most assuring indeed. Thank you.

1:56:46 If you're like most drivers, this wonderful weather we've been having lately must make you want to head your car for the seashore, the mountains, or just the open highway. Naturally, these trips make you more concerned about gasoline mileage, the thing signal gasoline is famous for. But mileage, mind you, is just one of the benefits you notice when you switch to signal. After all, to give you such good mileage, signal gasoline has to help your engine run more efficiently. So efficiently, you save gasoline three ways. One, you save gasoline with Signal's prompt starting. Two, you save gasoline with Signal's smooth pickup. And three, you save gasoline with Signal's full power. The kind of performance makes driving more fun.

1:57:31 That's why motorists with a zest for driving pleasure, as well as those who appreciate economy, are both enthusiastic about Signal, the famous go-farther gasoline. Signal, signal, signal gasoline. Your car will go far. Will go far, the gasoline. Well, Clarence. Well, Clara, events have conspired to bring you luck, haven't they? Unexpectedly, a man named Raymond Hungate, escorting you to the Leaning Tower of Pisa, deserted you, but left a valuable diamond necklace in your coat pocket. Now you find yourself thinking about the two determined-looking men who were following Mr.

1:58:27 Hungate. And you realize that if by chance they caught up with him, the necklace will remain yours. But shortly after leaving the jewelry shop in Rome, you suddenly become aware of someone walking at your side. You look up quickly. Recognize the man you met in Pisa, Raymond Hungate. He speaks quietly as you near a small basement restaurant. Would you like some refreshments, Miss Marshall? No, no thanks. Oh, come on, be social. After all, we have something important to discuss. Oh, all right. Yeah. I think this little basement restaurant should prove an interesting place. Yeah. Nice and quiet. Table for two, please.

1:59:09 This way. How about that one in the back corner? Very good, sir. Yeah. Now we'd just like some coffee. Perhaps something else later on. Oh, very good, sir. Now tell me, have you been enjoying your trip since you were so rudely left in the fog in Pisa? Yes, but no thanks to you. Oh, I apologize. It was unforgivable to leave you stranded, but believe me, it was most necessary. So I gathered. Did your friends catch up with you? No. Oh, thanks to the fog, they didn't. And I want you to know I appreciated your cooperation. Think nothing of it. Your coffee, sir? Thank you. Were you satisfied that the diamonds were real?

1:59:51 I noticed you were having a jeweler look the necklace over. Just making sure the clasp was in good condition. You'd have thought rather foolish if the clerk had recognized that necklace as a stolen one. Is it? Could be. I hadn't you guessed. But if you'd known, you would, of course, have taken it to the authorities. No, I've thought about it. Then I thought about something else, Mr. Hungate. How would you like a partner? Did you say a partner? Well, don't be so overwhelmed. You already have one, you know. Otherwise, I would have turned the. Necklace over to the police. You're right. You see, it could be an interesting setup. If you're interested in stolen or black market jewelry, you'll sooner or later be suspected. Perhaps your room and luggage search. Eventually, you'll be caught.

2:00:37 That isn't a very pretty picture. I'm serious. If someone were to take the jewels and keep them for you, someone who wouldn't be suspected, someone, say, who's just on... A sightseeing tour. Wouldn't it make your work easier? I'm beginning to see your point. However, what about your traveling companion? She seems quite a chatterbox. Harriet, she'd be an asset. She's already set up a storybook romance for us. I'm sure she'd keep quiet about our seeing one another from time to time. Perhaps give her the story that you're on some dangerous secret mission. Ah, the plan might have some advantages. But how do I know I can trust two women. Haven't you already found out? For my part.

2:01:17 I can use some extra income. I'm getting somewhat fed up playing nursemaid to Harriet Wilson. Well, I'll give it some thought. Meanwhile, do you want me to keep the necklace for you? Why, yes. You might as well. Partner. I thought so. You feel quite proud of yourself, don't. You, Clara? You've talked Raymond Hungate into a partnership in his jewel collecting. Of course, you haven't found the source of the jewelry he passed along to you, but you do know that it's very valuable. That's why you keep the gems well hidden.

2:01:57 And since it's necessary to keep your meetings with Raymond secret from the other tourists, you encourage Harriet to continue with her romantic ideas. Clara, my dear, I can't tell you how happy it makes me to know that you've found such an exciting and adventurous friend. He is nice. Nice? He's wonderful. And to think he's in the Foreign Secret Service for our government. Shh, not so loud. Oh, sorry, dear. Well, it could mean his life, you know, if people found out about that. He shouldn't even have told me. Oh, now, don't worry, Clara. I'll be careful. You can count on that. Thank you. Oh, but imagine meeting such a thrilling man here in a foreign land. He falls in love with you and eventually wedding bells.

2:02:40 Please, Marion. I'll admit Raymond is fascinating and I'm pleased with his attention, but... Well, he hasn't asked me yet. Oh, but he will. This young man's in love with you. And you're in love with him, too. I can tell. I'm afraid you have spring fever, Harriet. Oh, you've been a changed person since you met him. You were always pleasant and nice to me. But now you seem to be, well, up in the clouds, you know. Maybe I am a little, but... Anyway, we give this to ourselves. Oh, yes, of course. You can count on me. THE END.

2:03:23 Things are going smoothly, aren't they, Clara? You've made Harriet believe you and Raymond are deeply in love. And you're sure she will never question any of your meetings with him. You and Harriet accompany the others on the various tours of Rome and the surrounding country. But you also manage to see Raymond frequently. From time to time, he adds other gems to his, uh, jewel collection. And he seems pleased with the arrangement you suggested. And then one day, you're a bit delayed in one of your scheduled meetings... You approach the back booth of a little cafe to find Raymond reading a letter. Oh, I didn't see you come in, Clara. You're slipping, Raymond. I thought you must always be on guard.

2:04:06 I'm not worried. Even if accused, I have no loot for anyone to find. Not today. You seem very absorbed in your letters from the folks back home. Hardly. Don't be so inquisitive. Partners have a right to share, remember? Besides, I noticed it's Morocco Jewelry Company in Naples. You ought to meet someone. Fast reader, aren't you? Oh, I'm a smart kid. Perhaps. But don't get too smart for your own good, huh? Could I, darling? Easily. Here, read the letter if you're so interested. An appointment at... 11 p.m. in Naples, day after tomorrow.

2:04:46 11 p.m. Isn't that a bit late? Not for a friend. A friend. The kind that exchanges gems for greenbacks? A lady is a genius. It adds up. An appointment at 11 at night in Naples. A friend. This man's your friend, isn't he? You're giving me answers. If I give you credit, you're usually right. We haven't discussed shares. How do I come in? You'll get what's coming to you, all right. 50-50? That would be real nice, wouldn't it? There are some real nice jewels I've been carrying around. Now, how about my share? 50-50? It's a bit high.

2:05:26 Partners, though. Well? You drive a hard bargain, honey. But you do know the answers. Mm-hmm. Interesting, isn't it, Clara? When you return to the United States, you'll be a rich woman. The jewels Raymond has accumulated are worth a small fortune, and it shouldn't be long until you receive your share. Raymond admits he has an appointment with a man named Rocco in Naples to make the exchange. The jewels for a sum of money beyond your dreams. Two days later, you're on the train to Naples. An hour or so before you arrive, you...

2:06:10 knocked softly on the door to Raymond Hungate's compartment. Oh, Clara, come on in. Anyone see you? Of course not. Bring the stuff in your purse? Yes. They laughed when I bought this purse that I didn't need any more luggage. But it has come in handy. There they are. Look at them spark. Oh, pretty. Oh, beautiful. Just think, how much would you save? 50,000 for a little car? Well, Rocco will want a commission, but they'll probably bring about 75 grand. Yeah, it's not bad for a few weeks' worth. Not bad at all. And even 37,500 is slightly more than my usual income.

2:06:54 Clara, we might as well understand each other. What? You've had some good ideas and you've been very helpful. Thank you, darling. But you can get in the way. You take much too much for granted. Oh, come now, smile when you say that. Why? Clara, the game's over. I'm about ready to cash in, and I don't need any excess baggage. You're joking. Look, you don't mean that you. Can't you figure the picture this time? We're almost into Naples. Your body can be found by the railroad tracks. By the time you're identified, I'll be in Naples. Have the dough and be on a boat, the good old USA. Don't be ridiculous. You'll be caught in a minute. What about Harriet? You've taken care of that. What? Harriet will only be able to tell them that she understands the job I have is very dangerous. That somehow you must have been killed by the men I was tracking down, or perhaps by accident. After all, she thinks we're so much in love.

2:07:42 Don't be a fool, Raymond. Put that gun away. Stand near the window, Clara. When the next train whistle sounds, I. Put it away! You grab at Raymond's arm. Try and seize the gun as the two of you struggle. You look at the body of Raymond Hungate, slumped on the seat. Try to realize that you killed him. You listen, expecting to hear people come clamoring into the compartment, but no one does. You realize that your struggle in the gunshot occurred during the outside noise, and that even as Raymond planned it, no one. Heard a thing. You look around the room and Open the window and toss the gun out. Then you get Raymond's wallet. Tear out the identification. Put Rocco's letter into your purse. And of course, most important of all, you.

2:08:26 Take all the gems. Now certain there's not a trace to suggest you're having been with Raymond. You quickly return to your own compartment. Oh, clever. Back so soon? I was just writing some postcards. That's nice. I'm surprised Mr. Hungett would let you leave so soon. You seem quiet, dear. Is something wrong? I'd rather not talk about it. Oh, come now. Have you had a quarrel? Please, Harriet, let's not discuss it. But, Clara, I thought he was about to propose. There's not going to be any wedding. I can assure you I never want to see Raymond Hungett again. Oh, dear. Oh, well, you'll feel better tomorrow, Clara. No, I'm through. In fact, Harriet, let's get everything together so that when we get to Naples, we can get off the plane right away and take a cab to the hotel and not wait for the rest of the tour.

2:09:15 But, Clara, I. No, I mean it, Harriet. Like I said, I'm through with Raymond Hungett. Forever. Spring or no spring, summer or no summer, you wouldn't feel nearly as peppy, would you, if you had to keep right on wearing heavy winter clothes? Well, that's just how your car feels about running on tired old motor oil. That's why you've been seeing these words. Time to change, on that sign outside signal station. Time to drain out old, sludgy, worn-out winter oil. Time to change to Signal Premium. Signal Premium.

2:10:01 Heavy-duty Signal Premium. Now there's the oil that really protects your car. This proved and improved heavy-duty signal oil does more, much more than just lubricate. In addition, signal premium motor oil cools, cleans, cushions, seals, and protects. Results? Tests under all types of driving conditions prove new signal premium motor oil reduces engine wear 50%. Your engine keeps its like-new pep and power twice as long. So since it's time to change, this time give your car a change for the better. Change to new heavy-duty signal premium motor oil at a signal station. Time to change. Time to change.

2:10:46 Time to change. Well, Clara, it's over, isn't it? Complete. As you hurry from the station, pretending that you want to avoid Raymond Hungry, knowing that. His body is waiting to be discovered in his compartment. You're certain, too, that you left no trace of your having been there at all. But you do have the jewels safely put away in your purse. And you know where you can exchange them for currency, a great deal of it. And since you're to sail for the United States soon, your future looks very promising, doesn't it? Then, there's a knock at the door of your hotel suite.

2:11:34 Yes? Miss Marshall? Clara Marshall? Yes. I represent the American consulate, Miss Marshall. Well, surely our passports are in order. Quite. I'm here on another matter. This is Police Chief Antwini. Police? But why? May we come in? Of course we do. Please, sit down. Who's it, Clara? The gentleman from the consulate and the chief of police, ma'am. This is my employee, Wilson, gentlemen. How do you do? Oh, this visit is quite flattering. You see, we are planning to leave for St. in a few days. Oh, we've had such a wonderful tour of the consulate. Nice of you two gentlemen to drop in this way.

2:12:17 I am afraid that my business may prevent your departure, Mrs. Oh? You see, there has been a murder. Matthew? Who? A man named Raymond Hungate. Raymond Hungate? How terrible. Why, we saw him only today. Well, surely that there's some mistake. The police still have some checking to do, Miss Marshall. But Chief Antrini would like you to come down to his office. Oh, but this is hard to believe. It's such a shock. We knew Raymond's job at the Secret Service was very dangerous. Harriet, there may be some mistake. I do hope so. Anyway, I'll go along to identify him, if it is Raymond. Oh, dear, my poor dear father.

2:12:58 I am sure you misunderstand, Miss Wilson. Chief Antrini is arresting Miss Marshall on suspicion of murder. What? That is proved. Well, that's preposterous. You've no reason whatever to suspect me. I think you have. We found Hungate's body in a compartment of a train that just arrived in nature. He'd been shot, and the murder weapon is missing, as well as his own identification paper. But a child of Miss Kelly's decent age... Give us the answer. What? You mean the card I slipped under the door of Raymond's compartment just before we left the train? No, you didn't. I'm afraid she did, Mrs. Marshall. They were such a romantic couple, I couldn't let them break up.

2:13:40 Uh, Mrs. Marshall, read the message on the card. Raymond hung it. I'm sure you and Clara have just had a lover's quarrel and... It all will work out all right. We'll be staying at the Imperial Hotel in Naples, signed Harriet Wilson. Well, Miss Marshall? All right, I did know him, but that doesn't say I killed him. No. But we know that Raymond Hungate had an appointment with a man named Rocco this evening to dispose of some stolen jewels. Hungate thought Rocco was a friend. Actually, Rocco was working with the police.

2:14:21 Very interesting. But what does all this have to do with me? Oh, nothing. Unless you have the youth. If you do, that's all we need for a conviction. Miss Marshall, let me see your foot. Let that whistle be your signal for the signal oil program, The Whistler, each Sunday night at this same time. Meantime, Signal Oil Company and the friendly independent dealers who help you go farther with Signal Gasoline hope you'll remember. Regardless of what gasoline you use, you'll enjoy more.

2:15:17 Miles of happy driving. If you drive at sensible speeds, obey traffic regulations, and avoid taking chances, you may even save a life Possibly your own. Featured in tonight's story were Bill Foreman as the Whistler, Betty Lou Gerson, Gerald Moore, Norma Varden, Jane Avello, and Byron Kane. The Whistler was produced and directed by George W. Allen, with story by Winifred Henson. Music by Wilbur Hatch and was transmitted overseas.

2:15:58 By the Armed Forces Radio Service. The Whistler was entirely fictional and all characters portrayed on the Whistler are also fictional. Any similarity of names or resemblance to persons living or dead is purely coincidental. Remember to tune in at this same time next Sunday when the Signal Oil Company will bring you another strange story by the Whistler. Marvin Miller speaking for the Signal Oil Company. S-I-G-N-A-L Say no, say no gas for.

2:16:46 Me Stay tuned now for our Miss Brooks starring Eve Arden, which follows immediately over most of these stations. This is the CBS Radio Network. Well, my dear, the evening has yet again run its course and soon the sky will be under the thumb of the sun yet again. But I do so enjoy these visits and hope I'll see you again and soon. Same time, same place. I'll be here happy to share a little something with you. But before you go, If I could ask just one more favor of you, one more request, a simple one. As you make your way home, as you skitter across the leaves, that are all about unraped and as you lie your head down to sleep and pray the lord your soul to keep take one moment and just be thankful for what you have and i'll be seeing you.

2:18:07 Soon . .