Unknown Broadcast | "One Hundred in the Dark"

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Welcome back, my dear friend.
I see you couldn't resist but to fiddle

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with that knob on your radio dial
yet again, so that you could join

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me here on this on this cold
but oddly welcome night. I'm always glad

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when you joined me, and I'd
love to share a good scare, if

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you will. I didn't mean to
rhyme, but I'll take it. Take

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it tonight. I suppose we're going
to have an extra special good time.

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You know what? You know what? Because I said, so, that's

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why? What was that was that? Oh no, no, no,

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no, I wouldn't worry about that
at all. Oh no, no,

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no, no no, don't be
silly. Everything's going to be just fine.

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Fine. Yes, indeed, indeed
all is so well? What uh

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no, no, no no,
don't you concern yourself at all. Those

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walls are three feet thick and they're
pretty much pure granite. It will be

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just fine fine, So please sit
down and make yourself comfortable. Comfortable,

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because I am just about ready to
play the story for you. It's an

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oldie but a goodie. Of course. Of course, everything here, including

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myself, is an oldie but a
goodie. I think you'll enjoy it quite

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a bit, and if you wish
to reach out to me, send me

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an email at Weird Mysteries pause at
gmail dot com. Oh, it looks

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like we're ready right now, I'll
hit play. The Columbia Network takes pleasure

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in bringing you suspense suspense Columbia's play
theater of outstanding thrillers, produced and directed

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by William Spear and scored by Bernard
Hermann. The notable melodramas from fiction and

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stage and screen, from the world's
great literature of entertaining excitement, presented each

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week to bring you to the edge
of your chair, to keep you in

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suspense. Tonight's story, by America's
distinguished author playwright Owen Johnson, gathers its

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suspense in a very gentle way.
It doesn't have a spectacular finish, goddessed

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with revolver shots, there are no
graveyard watches. There's not so much as

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a single lifeless body, identified or
unidentified. It's a tale told in a

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club room, the Artists and Writers
Club in New York, A tale of

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high class robbery and suspicion, and
of how some ladies and gentlemen nervously counted

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one hundred in the dark. Ah
that was a fine meal me for the

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club anytime we can all say,
yeah, if you'll just draw up that

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chair for mister Peters. Yeah.
Do you all know Peters? This is

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time? How do you do?
Yeah? Oh yes, oh you know

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each other? Yes? And the
one who drew up the chair, mister

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Rankin. Well, I guess,
I guess we're all acquainted. Now to

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get back to a table discussion.
Quine, Oh yes, how about a

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drink who joined me? Ye?
Pleasure? Fine? Fine? John?

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Well, now stangal as I said, there are only half a dozen stories

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in the world. What is more
to the point? There's every reason oh

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five with soda? John, Yes, Now, now where was that?

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Oh? Yes? What is more
to the point, gentlemen, is the

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small number of human relations that are
so simple and yet so fundamental that they

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can be eternally played upon, redressed, and reinterpreted in every language and every

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age, and yet remain inexhaustible in
the possibility of variation. Well, that's

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true, of course impossible. Take
the eternal triangle two men and a woman

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or two women and a man.
It's variations extend the thousands that right,

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ranking Well in a way, ah
here we are shut them down, right,

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there John, well, little soda, Here you are, thank you,

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and you so pe yes please what
here you are? Thanks? And

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here's joy, thank you? And
now an episode in mine, Well,

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here's to you all. I'm afraid
we can't see eye to eye, Quinny.

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I believe there are situations, original
situations that are independent of your human

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emotions that he desists just because they
are situations accidental and nothing else. As

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for instance, well, I'll just
cite an ordinary one that happens to come

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to my mind. In a group
of five men, such as we are

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here, a theft takes place.
One man is the thief? Which one?

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Now, I'd like to know what
emotion that interprets? And yet it

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certainly is an original theme at the
bottom of a whole literature. It's not

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the same thing at all detective stories. I could answer that the situation you

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give can be traced back to the
commonest of human emotions, curiosity. I

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think pray has you there, rankin
what is the peculiar fascination that the detective

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problem exercises over the human mind?
You will say curiosity, yes and no

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admit it once that the whole art
of a detective story consists in the statement

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of the problem. Anyone can do
it. I can do it. Stengal

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can do it. Ran can I
believe even you can do it. The

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solution doesn't count. It is usually
banal. It should be prohibited. What

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interest dous is? Can we guess
it? There you have it, the

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problem, the detective story. Now
why the fascination? I'll tell you it

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appeals to our curiosity, yes,
but deeper, to a sort of intellectual

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vanity. Five men present, a
theft takes place. Who's the thief?

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Who will guess it first? Whose
brains will show its superior cleverness? You

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see? That's all. That's all
there is to it. Out of all

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of which, the interesting thing is
that Rankin has supplied the reason why the

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supply of detective fiction is inexhaustible.
It does all come down to the simplest

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terms, five possibilities, one answer. All. The reason is that the

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situation does constantly occur. It's a
situation that any of us might get into

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any time. Yes, I know
of an incident of that kind that happened

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to a friend of mine last month. Of course, of course, gentlemen,

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you are glorifying commonplaces. Every crime
ideal you expresses itself in the terms

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of the picture puzzle that you feed
your six year olds, it's only the

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variation that is interesting. Take the
well known instance of the visitor at a

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club and the rare coin, for
example, we all know that story thing

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I have. I'm not sure why
it's very well known. I'll go ahead,

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quney tell it. A distinguished visitor
is brought into a club. Dozen

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men, say present. At dinner, long table conversation finally veers around to

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curiosities and relics. One of the
members present then takes from his pocket what

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he announces as one of the rarest
coins in existence, passes it around the

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table. Coin travels back and forth, every one examining it, and the

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conversation goes to another topic. All
at once, the owner calls for his

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coin. It is nowhere to be
found. Every one looks at every one

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else. First they suspect a joke, Then it becomes serious. The coin

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is immensely valuable. Who has taken
it? The owner is a gentleman,

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does the gentlemanly idiotic thing, of
course, laughs as he knows some one

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is playing a practical joke on him, and that the coin will be returned.

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Tomorrow. The others refuse to leave
the situation, So one man proposes

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that they all submit to search.
Every one gives his assent until it comes

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to the stranger. He refuses,
curtly, roughly, without giving any reason.

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Uncomfortable silence. The man is a
guest. No one knows him particularly

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well, but still he is a
guest. One member tries to make him

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understand that no offense is offered,
that the suggestion was simply to clear the

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atmosphere. The stranger becomes very firm, very proud, and says, I

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refuse to allow my person to be
searched, and I refuse to give the

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reason for my action. Another silence. The visitor evidently has the coin,

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but he is their guest and etiquette
protects him. Nice situation. Eh,

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well, what's the answer? The
table is cleared a way to removes a

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dish of fruit in there under the
ledge of the plate where it's been pushed

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is the coin. Banal explanation.
Eh, of course, solutions always should

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be at once. Every one apologizes
to him. Whereupon the visit a rises

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and says, now I can give
you the reason for my refusal to be

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searched. There are only two known
specimens of that coin in existence, and

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the second happens to be here in
my best pocket. That's rather obvious.

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Of course. The story is well
invented, but the turn to it is

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very nice, very nice. Indeed, well, I don't know, ending

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is very unsatisfactory. Visitors should have
hit on him, not another coin,

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but something absolutely different, something destructive, say, of a woman's reputation,

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and a great tragedy should have been
threatened by the casual misplacing of the coin.

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Ah, I've heard the same story
told in a dozen different ways.

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Oh, it's happened a hundred times. It must continually happen. I know

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of one extraordinary instance, in fact, the most extraordinary instance of this sort

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I've ever heard. Peter's you Rascal. I see you've been quietly letting us

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at the stage for you. Well, it's not a story that will please

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everyone. Why not, because you
will want to know what no one can

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ever know. It has no conclusion. Then, yes and no. As

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far as it concerns a woman,
quite the most remarkable woman I've ever met,

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the story is complete. Do I
know the woman? Possibly? Probably,

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I should say, as a matter
of fact, there should be particularly

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interesting to you, because I believe
that most of you are acquitted with the

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people involved. The names, of
course, are disguised. I think,

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yes, I have just time before
I catch my train to tell it to

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you. This is well, missus. Rita Kildare inhabited a charming bachelor girl's

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studio, very elegant, the duplex
pattern and one of the buildings just off

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Central Park West. She knew very
nearly everyone in that indescribable society in New

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York that's drawn from all levels,
and that imposes but one condition for membership.

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To be amusing in this mingled society, her invitations were eagerly sought,

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Her dinners were spontaneous, and the
discous Rusians, though gay and usually daring,

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were invariably under the control of wit
and good taste. On the Sunday

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night of this adventure, she had, according to her custom, sent away

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her Filipino butfer and invited to an
informal chafing dish supper seven of her more

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unusual friends at seven o'clock. Having
finished dressing, she put in order her

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bedroom, which formed a sort of
free passage between the studio and a small

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dining room to the kitchen beyond.
Then going into the studio, she struck

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a match and was about to light
the candlesticks, which illuminated the room,

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when the bell rang, and a
mister Flanners, a broker compact nervously alive,

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well groomed, was waiting as she
opened the door. Well, you're

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early. On the contrary, you
are late well in any case, hello,

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and come inside here. Let me
take your things first, I suppose,

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of course. And since you are, you can be a good boy

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and help me with the candles.
Delighted? Who's to be here tonight?

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The Enos Jacksons? I thought they
were separated? Not yet? How interesting?

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Only you, dear lady, would
dream of serving us a couple on

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the verge. It is interesting,
isn't it? Assuredly? Where did you

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know Jackson? Through the wearings?
Jackson's a rather doubtful person, isn't he.

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Well, let's call him a very
sharp lawyer. Can they tell me?

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Though? He's been gambling pretty much
indep How about yourself? Me?

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I'm a bachelor. If I lose
my shirt, it makes no difference.

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Is that possible? Probably? Even
who else is coming? Oh, Maude,

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Lily, you know what, I
don't think? So you met her

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here? Some time ago generally.
Oh, yes, yes, of course

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I've forgotten, mister Harris. The
clubman is coming, and the Stanley Cheevers,

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Stanley Chievers. Are we going to
gamble? Don't tell me you objects

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certainly not only the Cheevers. Well, they played quite a game, yes,

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well united, they have an unusual
streak of good luck. Oh,

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by the way, it's Jackson,
isn't it. Who is so attractive to

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missus? Cheaper? Quite right?
What a charming party? And where does

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Maut Lily come in? Don't joke, she's in a desperate way. And

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John Harris, Oh, he used
to make the salad and cream the chicken.

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See the whole party, I of
course am to wear the element of

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respectability of what. Don't play baby
with me, my dear Flanders. I

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apologize. No one, of course
knows who else is coming. No one,

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of course the Stanley Cheever center,
short fat man with a vacant fat

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face and slow moving high and his
wife voluable, nervous, over dressed and

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pretty. Mister Yes, mister Harris
came in with Maude Lily, a woman's

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straight, dark Indian, great masses
of somber hair held in a little too

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loosely for neatness, with thick,
quick lips and eyes that rolled away from

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the person who was talking to her. The enos Jacksons were late and still

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agitated as they entered. His forehead
had not quite banished the scowl, nor

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her eyes the scorn. He was
of the type that never lost his temper

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but caused others to lose theirs.
Missus Jackson seemed fastened to her husband by

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an invisible leash. You looked at
her curiously and wondered what such a nature

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would do in a crisis, with
a lurking sense of a woman who carried

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with her her own impending tragedy.
As soon as the company had been completed

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and the incongruity of the selection had
been perceived, a smile of malicious anticipation

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and ran the rounds, which the
hostess cut short by saying, well,

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well, now that everyone's here,
this is the order for the night.

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You can quarrel all you want,
you can whisper all the gossip you can

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think of about one another, but
everyone is to be amusing. Also everyone

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is to help with dinner, and
nothing formal, nothing serious. We may

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all be bankrupt, divorced, or
dead tomorrow, but tonight we'll be gay.

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That's the invariable rule of the house. Oh quite small. Oh thanks

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everyone. Now, if you excuse
me, I'll get on with the cooking.

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Harris, I need you will,
May I be a very else?

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Thank you, my dear. I
come along too, all right, this

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is an adorable bedroom. Oh,
thank you dear. Now for my apron

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it is tie me off the back, you please, Maud? Of course

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there you were fine. Thanks.
Now just let me get my rings off

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and I'll be all ready to go
to work. Oh, this is such

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a lovely apartment. Miss killed,
air fing, soap and water always seem

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to do it. Ah, there, your rings are so beautiful. They

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are nice, aren't they. But
there's only one that's very valuable, the

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sapphire. Oh it's beautiful. Let
me see. Oh it must be very

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valuable. It costs ten thousand,
six years ago. It's been my talisman

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ever since. For the moment,
however, I'm a cook. You're not

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going to leave the rings there?
Why? Of course? Now I'm a

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cook, Maud. Lily are the
story maid. Harris is the chef and

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we're all under his orders. Missus
cheaper, did you ever peel onions or

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with heavens no, well, there
are no onions, peel. All you

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have to do is help us at
the table. Under their hostess's gay guidance,

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the seven guests began to circulate busily
through the room, laying the table,

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grouping the chairs, opening bottles,
and preparing the material for the chaping

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dishes. Missus Kildare in the kitchen, ransacked the ice box and with her

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own hands shredded the chicken and measured
the cream. Planned this, carry this

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00:18:34.319 --> 00:18:40.119
in carefully, Jeeva, stop watching
your wife and put the salad bowl on

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the table. Everything ready, Harris? Also all right, everyone sit down,

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I'll be riding in. She went
into her bedroom, took off her

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00:18:52.240 --> 00:18:55.720
apron and hung it in the closet. Then, going to a dressing table,

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she drew the hatpin around which were
her rings from the pincushion, and

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00:19:00.200 --> 00:19:06.160
carelessly slipped them on her fingers.
But all at once she frowned and looked

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quickly at her hand. Only two
rings were there. The third ring,

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00:19:12.440 --> 00:19:19.039
the sapphire, was missing straps,
she said to herself, and returned to

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her dressing table. Immediately she stopped, she remembered quite clearly putting the hatpin

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through the three rings. She made
no attempt to search further, but remained

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without moving her fingers slowly drumming on
the table who had taken the ring.

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Each of her guests had had a
dozen opportunities in the course of the time

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00:19:41.440 --> 00:19:45.440
she'd been busy in her kitchen.
She ran over their characters and their situations

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as she knew them. Strangely enough, at each her mind stopped upon some

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00:19:52.079 --> 00:19:57.519
reason that might explain a sudden temptation
to find out nothing this way. That's

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00:19:57.559 --> 00:20:02.680
not the important thing to me.
Just important thing is to get the ring

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00:20:02.799 --> 00:20:07.440
back, And slowly, deliberately,
she began to walk back and forth,

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a clenched hand, beating the deliberate
rhythmic measure of her journey. Five minutes

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00:20:15.799 --> 00:20:18.960
later, as Harris installed the chef
over the chafing dish, was giving directions

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00:20:19.079 --> 00:20:25.039
school in the air, missus Kildare
came into the room like a lengthening shadow.

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Her entrance had been made with scarcely
a perceptible sound, and yet each

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00:20:29.960 --> 00:20:33.839
guest was aware of it at the
same moment, with a little nervous start.

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00:20:36.559 --> 00:20:40.319
Heavens, heavens, dear lady,
you come in on us like a

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00:20:40.359 --> 00:20:45.079
Greek tragedy. What is it you
have for us? A surprise? I

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00:20:45.359 --> 00:20:49.680
have something to say to you,
mister enos Jackson. Yes, mus killed

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00:20:49.680 --> 00:20:53.400
her. Kindly do as I ask
you, certainly, go to the door.

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00:20:55.400 --> 00:21:03.000
Go to the door, please,
yes, lock it and bring me

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00:21:03.079 --> 00:21:11.400
the key. You've locked it as
you wish me to. Thank you.

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00:21:12.000 --> 00:21:26.119
Now the bedroom door, would you
do the same, Yeah, thank you,

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00:21:26.200 --> 00:21:30.480
mister Jackson. Mister cheever ah,
would you blow out all the candles

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00:21:30.519 --> 00:21:36.119
except the candlelabra on the table?
Blow out all the candles except the candelabra,

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00:21:37.039 --> 00:21:42.920
all right? For goodness Saints is
killed there? What is it?

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00:21:44.200 --> 00:21:47.720
I am getting durribly worked up by
my names are all ready, miss Jackson.

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00:21:49.480 --> 00:21:57.279
That's the last candle? All right
now listen, my sapphire ring has

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00:21:57.440 --> 00:22:03.480
just been stolen to The ring's been
taken within the last twenty minutes. I'm

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00:22:03.519 --> 00:22:08.359
not going to mince words. The
ring has been taken and the thief is

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00:22:08.400 --> 00:22:12.960
among you, but missus Kilbury has
passed. So yes, missus chiever is

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00:22:14.039 --> 00:22:15.839
not the slightest doubt. Three of
you are in the bedroom, and I

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00:22:15.880 --> 00:22:18.359
placed my rings in the pincushion.
Quite true, I was in the room

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00:22:18.359 --> 00:22:22.519
when she took them off. The
sapphire ring was on top. Each of

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00:22:22.599 --> 00:22:26.759
you has passed through there a dozen
times since my sapphire ring is gone,

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00:22:26.880 --> 00:22:32.400
and one of you has taken it. I want now. I'll miss you

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00:22:32.599 --> 00:22:36.079
all. I'm not going to miss
words. I'm not going to stand on

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00:22:36.200 --> 00:22:41.519
ceremony, but I'm going to have
my ring back. Listen to me carefully.

257
00:22:41.480 --> 00:22:45.640
I'm going to have that ring back, and until I do, not

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00:22:45.720 --> 00:22:52.559
a soul shall leave this room.
I don't care who's taken it. All

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00:22:52.640 --> 00:22:56.599
I want is my ring. Now, I'm going to make it possible for

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00:22:56.680 --> 00:23:00.319
whoever took it to restore it without
possibility of detection. The doors are locked

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00:23:00.599 --> 00:23:04.160
and will stay locked. I'm going
to blow out the remaining candles in the

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00:23:04.200 --> 00:23:11.039
candelabra. I'm going to count one
hundred slowly. There'll be an absolute darkness.

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00:23:11.720 --> 00:23:15.000
No one will know or see what's
done. But if at the end

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00:23:15.039 --> 00:23:19.559
of that time the ring is not
here on the table, I shall telephone

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00:23:19.559 --> 00:23:25.799
the police and have every one in
this room searched. Am I quite clear?

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00:23:27.039 --> 00:23:33.319
Every one takes place about the table
and remain standing. Please? That's

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00:23:33.359 --> 00:23:37.359
it. That'll do. Now.
I'll blow out the candles and count one

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00:23:37.440 --> 00:23:44.440
hundred, no more, no less. Remember, either I get that ring,

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or every one in this room will
be searched. One, two,

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00:23:59.599 --> 00:24:11.079
three, four, five, six, seven, eight, nine, ten,

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00:24:11.359 --> 00:24:22.559
eleven, twelve, thirteen, fourteen, fifteen, sixteen, seventeen,

272
00:24:22.519 --> 00:24:30.880
eighteen, nineteen, twenty, twenty
one, twenty two, twenty three,

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00:24:33.079 --> 00:24:40.559
twenty four, twenty five, thirty
six, thirty seven, twenty eight,

274
00:24:41.640 --> 00:24:48.680
twenty nine, thirty, thirty one, thirty two, thirty three, thirty

275
00:24:48.720 --> 00:24:56.759
four, thirty five, thirty six, thirty seven, thirty eight, thirty

276
00:24:56.839 --> 00:25:07.079
nine, forty forty one, forty
two, forty three, forty four or

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00:25:07.480 --> 00:25:12.960
five pot slept off the Chick,
forty seven, forty eight, forty nine,

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00:25:14.880 --> 00:25:21.960
fifty fifty one, fifty two,
fifty three, fifty four, fifty

279
00:25:22.039 --> 00:25:27.640
five, fifty six, fifty seven, fifty eight, fifty nine, sixty,

280
00:25:29.480 --> 00:25:34.559
sixty one, sixty two, sixty
three, sixty four, sixty five,

281
00:25:36.400 --> 00:25:41.640
sixty six, sixty seven, sixty
eight, sixty nine, seventy,

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00:25:42.480 --> 00:25:49.480
seventy one, seventy two, seventy
three, seventy four, seventy five,

283
00:25:51.160 --> 00:25:57.680
seventy six, seventy seven, seventy
eight, seventy nine, eighty eighty one,

284
00:25:59.480 --> 00:26:06.039
eighty two, eighty three, eighty
four, eighty five, eighty six,

285
00:26:06.960 --> 00:26:15.160
eighty seven, eighty nine, ninety
ninety one, ninety two, ninety

286
00:26:15.240 --> 00:26:22.759
three, ninety four, ninety five, ninety six, ninety seven, ninety

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00:26:22.799 --> 00:26:33.799
eight, ninety nine, one hundred. Well, well it's the chiever.

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00:26:34.160 --> 00:26:41.960
You may hand it to me.
Well, now that that's ober, we

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00:26:42.079 --> 00:26:52.200
can have a very gay little supper
the lights someone and there you are gentlemen,

290
00:26:52.640 --> 00:26:56.519
Oh, I say, Peters,
that's not all. Absolutely, the

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00:26:56.680 --> 00:27:00.240
history ends there, story ends there. But the hoot of the hing ah

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00:27:00.759 --> 00:27:07.680
what is never found out, never
no clue none. I'm not sure I

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00:27:07.880 --> 00:27:11.400
like the story. That's no story
at all, permit me. It is

294
00:27:11.480 --> 00:27:15.279
a story, and it is complete. In fact, I consider it unique

295
00:27:15.279 --> 00:27:18.799
because it has none of the banalities
of a solution and leaves the problem even

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00:27:18.880 --> 00:27:22.599
more confused than at the start.
I don't horse, you don't see,

297
00:27:22.680 --> 00:27:26.079
my dear kin. You do not
see that any solution would be commonplace.

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00:27:26.599 --> 00:27:33.240
Whereas no solution leaves an extraordinary intellectual
problem. Well in the first place,

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00:27:33.720 --> 00:27:37.680
whether the situation actually happened or not, which is in itself a meretor of

300
00:27:37.759 --> 00:27:41.160
reality. Peters has constructed it in
a masterly way, the proof of which

301
00:27:41.279 --> 00:27:45.599
is that he has made me listen. Any of those present might have taken

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00:27:45.640 --> 00:27:49.880
the ring. There are therefore seven
solutions, all possible and all logical.

303
00:27:51.440 --> 00:27:56.880
But beyond this is left a great
intellectual problem. How so was it a

304
00:27:56.960 --> 00:28:00.359
woman who lacked the necessary courage to
continue? Or was it a man who

305
00:28:00.559 --> 00:28:06.559
repented his first impulse? Is a
man? Or is a woman the greater

306
00:28:06.920 --> 00:28:10.319
natural criminal? All that simple quinny? A woman took it, of course.

307
00:28:10.559 --> 00:28:14.000
On the contrary, it was a
man, for the second action was

308
00:28:14.079 --> 00:28:17.359
more difficult than the first. A
man certainly, the restoration of the ring

309
00:28:17.519 --> 00:28:21.759
was a logical decision. You see. Personally, I inclined to a woman

310
00:28:21.960 --> 00:28:26.079
for the reason that a weaker feminine
nature is strangely susceptible to the domination of

311
00:28:26.119 --> 00:28:29.880
her own sex. There you are. We could meet and debate the subject

312
00:28:29.920 --> 00:28:33.279
gear in and year out and never
agree. I recognize most of the characters

313
00:28:33.359 --> 00:28:37.920
Peters missus Kildare, of course,
is all you say of her? An

314
00:28:38.000 --> 00:28:44.680
extraordinary woman. The story is quite
characteristic. Over Flanders, I'm not sure

315
00:28:44.759 --> 00:28:48.319
of, but I think I know
him. I am positive did it really

316
00:28:48.440 --> 00:28:52.759
happen exactly as I told it.
The only one I don't recognize is Harris,

317
00:28:53.440 --> 00:28:59.920
your humble servant. What you Peters? You were there? I was

318
00:29:00.079 --> 00:29:07.880
there, I was Harris. Oh
yes, what is it done? Mister

319
00:29:07.920 --> 00:29:12.039
Peters saw your trained You told me
to remind you. Oh, thank you.

320
00:29:12.440 --> 00:29:18.079
Yes, I didn't notice so late
you gentlemen, pardon me. Nice

321
00:29:18.119 --> 00:29:30.799
to meet you all night, curious
chap, extraordinary. Well now I I

322
00:29:32.119 --> 00:29:48.559
wonder, I wonder if we're wondering
the same thing, gentlemen. And so,

323
00:29:48.279 --> 00:29:53.720
with the enigmatic smile of mister Peters
or Harris, ends one hundred in

324
00:29:53.759 --> 00:30:03.079
the Dark. Owen Johnson's smooth story
which gave us to Night's Suspense. Suspense

325
00:30:03.240 --> 00:30:10.000
is produced by William Spear. Tonight's
radio drama was written by Jack Anson Fink,

326
00:30:10.359 --> 00:30:15.279
directed by John Diets, and scored
by Bernard Hermann. Eric Dressler was

327
00:30:15.359 --> 00:30:21.359
mister Peters, Alice Frost played Missus
Kildare, and Ted Osborne Quinny. Others

328
00:30:21.440 --> 00:30:26.880
in the cast were Helen Lewis,
Joan Shay, Henriette Kay, Frank Reddick,

329
00:30:26.119 --> 00:30:30.799
Paul Luther, Stephen Schnabel, Ian
Martin, and Barry Kroger. With

330
00:30:30.960 --> 00:30:36.680
this evening's performance, Columbia brings to
a conclusion the present series of suspense.

331
00:30:37.319 --> 00:30:40.640
If you like these broadcasts, CBS
would be pleased to hear from you.

332
00:30:41.480 --> 00:30:48.000
Suspense has been a series presented for
your relaxation and enjoyment by the Columbia Broadcasting

333
00:30:48.119 --> 00:31:03.559
System. Yes quite the musical accompaniment, Eh, Yes, that was one

334
00:31:03.599 --> 00:31:08.519
of the best I've listened to in
quite a while. And usually I sit

335
00:31:08.599 --> 00:31:14.079
all alone in this here room,
but ever since I found this old beat

336
00:31:14.200 --> 00:31:21.079
up microphone that still works my jewel, I'm very pleased to allow you to

337
00:31:21.200 --> 00:31:23.839
join me. Of course, that's
only if you'll have me. And you've

338
00:31:23.880 --> 00:31:29.680
been very kind and very generous,
and I hope that that means I'll see

339
00:31:29.720 --> 00:31:37.319
you right back here tomorrow night.
Every night is a night worth as scarce,

340
00:31:38.079 --> 00:31:42.640
so I suppose i'll see you then. Oh what's that? What's that?

341
00:31:42.839 --> 00:31:45.599
Oh no, no, no,
there's no need to know my name

342
00:31:45.880 --> 00:31:48.880
Frankly, I'm not sure that I
know it anymore either. It's one of

343
00:31:48.920 --> 00:31:55.240
the first things to go when you're
in the situation that I am. But

344
00:31:55.400 --> 00:32:00.559
until tomorrow night, stay safe,
get into your cozy bed, and enjoy,

345
00:32:00.759 --> 00:32:17.759
enjoy the inevitable. Son Rossi's very
good. You're mumbling