1 00:00:00,000 --> 00:00:01,000 Suspense. 2 00:00:01,000 --> 00:00:22,040 This is the man in black. 3 00:00:22,040 --> 00:00:27,240 Here again to introduce Columbia's program, Suspense. 4 00:00:27,240 --> 00:00:30,040 Our stars this evening are three. 5 00:00:30,040 --> 00:00:35,040 In the order of their appearance they are Walter Hempton, one of the theater's proudest 6 00:00:35,040 --> 00:00:41,360 names for two generations, and Susan Hayworth and Lee Bowman, two of Hollywood's brightest 7 00:00:41,360 --> 00:00:43,520 younger stars. 8 00:00:43,520 --> 00:00:53,600 The story called The Dead Sleep Lightly by John Dixon Carr is tonight's tale of Suspense. 9 00:00:53,600 --> 00:00:57,640 If you've been with us on these Tuesday nights, you will know that Suspense is compounded 10 00:00:57,640 --> 00:01:01,680 of mystery and suspicion and dangerous adventure. 11 00:01:01,680 --> 00:01:06,400 In this series our tales are calculated to intrigue you, to stir your nerves, to offer 12 00:01:06,400 --> 00:01:12,600 you a precarious situation, and then withhold the solution until the last possible moment. 13 00:01:12,600 --> 00:01:18,280 And so with The Dead Sleep Lightly, and with the performances of Walter Hempton, Susan 14 00:01:18,280 --> 00:01:25,920 Hayworth, and Lee Bowman, we again hope to keep you in Suspense. 15 00:01:25,920 --> 00:01:33,360 Ashes to ashes and dust to dust. 16 00:01:33,360 --> 00:01:38,280 Meadowvale Cemetery, not far from New York. 17 00:01:38,280 --> 00:01:45,640 Meadowvale Cemetery, on a dim gray morning in early April when rain forms a mist across 18 00:01:45,640 --> 00:01:48,560 leafless trees and white gravestones. 19 00:01:48,560 --> 00:01:55,760 You see over there the group of silk-hatted gentlemen, each with his protecting umbrella, 20 00:01:55,760 --> 00:01:57,800 gathered around an open grave. 21 00:01:57,800 --> 00:02:01,440 You see the clay soil freshly dug. 22 00:02:01,440 --> 00:02:08,360 You can hear perhaps the creaking of the porch as the coffin is lowered into its everlasting 23 00:02:08,360 --> 00:02:12,840 house, and the droning voice of the surgeon. 24 00:02:12,840 --> 00:02:18,520 I am the resurrection and the life, best of lords. 25 00:02:18,520 --> 00:02:24,480 He that believeth on me, though he were dead, yet shall he live. 26 00:02:24,480 --> 00:02:25,480 Live? 27 00:02:25,480 --> 00:02:26,480 Quiet, Mr. Templeton, please. 28 00:02:26,480 --> 00:02:27,480 What's wrong with old Templeton? 29 00:02:27,480 --> 00:02:28,480 Please, sir, remember where you are. 30 00:02:28,480 --> 00:02:29,480 She's not alive, I tell you. 31 00:02:29,480 --> 00:02:30,480 She's not alive. 32 00:02:30,480 --> 00:02:49,600 It might seem a long distance, that, from the Cosmopolite club in Gramercy Park on the 33 00:02:49,600 --> 00:02:55,560 following evening, when that same well-fed man, as hard and unemotional as a diamond 34 00:02:55,560 --> 00:02:59,600 pin in his tie, hurries up a step into the club, then. 35 00:02:59,600 --> 00:03:00,600 What a farce. 36 00:03:00,600 --> 00:03:01,600 Yes, Mr. Templeton? 37 00:03:01,600 --> 00:03:04,600 Tell me, is Mr. Wilmot in the club, do you know? 38 00:03:04,600 --> 00:03:05,600 Yes, sir. 39 00:03:05,600 --> 00:03:06,600 Don't you see him? 40 00:03:06,600 --> 00:03:07,600 See him where? 41 00:03:07,600 --> 00:03:08,600 In the lounge over there, sir, sitting by the fire. 42 00:03:08,600 --> 00:03:09,600 Yes, yes, of course, sir. 43 00:03:09,600 --> 00:03:10,600 I'm a little upset. 44 00:03:10,600 --> 00:03:11,600 You're a good fellow, Henry. 45 00:03:11,600 --> 00:03:12,600 I won't forget you. 46 00:03:12,600 --> 00:03:13,600 Thank you, sir. 47 00:03:13,600 --> 00:03:17,320 Excuse me, sir, but aren't you going to take off your hat and overcoat? 48 00:03:17,320 --> 00:03:18,320 Never mind my hat and coat. 49 00:03:18,320 --> 00:03:20,280 Just tell me one other thing. 50 00:03:20,280 --> 00:03:23,800 When I came into the club, was there anybody following me? 51 00:03:23,800 --> 00:03:24,800 Following you, Mr. Templeton? 52 00:03:24,800 --> 00:03:25,800 Yes, a woman. 53 00:03:25,800 --> 00:03:29,160 A woman with a long skirt and a heavy black veil. 54 00:03:29,160 --> 00:03:33,000 But aren't many women who wear that kind of dress nowadays, sir? 55 00:03:33,000 --> 00:03:34,600 Look out into the street. 56 00:03:34,600 --> 00:03:37,600 Do you see anybody? 57 00:03:37,600 --> 00:03:39,600 No, sir. 58 00:03:39,600 --> 00:03:40,600 There's just... 59 00:03:40,600 --> 00:03:41,600 What's that? 60 00:03:41,600 --> 00:03:42,600 Oh, that's only the old street musician, sir. 61 00:03:42,600 --> 00:03:43,600 He doesn't mean any harm. 62 00:03:43,600 --> 00:03:44,600 I won't have that tune played, you hear? 63 00:03:44,600 --> 00:03:45,600 I'm used to getting my orders abated, and I'm going to have this one abated. 64 00:03:45,600 --> 00:03:46,600 Here's some money. 65 00:03:46,600 --> 00:03:47,600 Go out and tell him to go away. 66 00:03:47,600 --> 00:03:48,600 Yes, sir, if you insist, but... 67 00:03:48,600 --> 00:03:49,600 Do as you're told and don't ask questions. 68 00:03:49,600 --> 00:03:50,600 Anybody else want to talk? 69 00:03:50,600 --> 00:03:51,600 I'm going to go. 70 00:03:51,600 --> 00:03:52,600 I'm going to go. 71 00:03:52,600 --> 00:03:53,600 I'm going to go. 72 00:03:53,600 --> 00:03:54,600 I'm going to go. 73 00:03:54,600 --> 00:03:55,600 I'm going to go. 74 00:03:55,600 --> 00:03:56,600 I'm going to go. 75 00:03:56,600 --> 00:03:57,600 I'm going to go. 76 00:03:57,600 --> 00:03:59,240 I'm going to go. 77 00:03:59,240 --> 00:04:00,240 Anybody wants me? 78 00:04:00,240 --> 00:04:02,000 I shall be with Mr. Wilmot. 79 00:04:02,000 --> 00:04:09,000 Very good, sir. 80 00:04:09,000 --> 00:04:16,000 Good evening, Wilmot. 81 00:04:16,000 --> 00:04:19,080 Mind if I sit down for a minute? 82 00:04:19,080 --> 00:04:20,080 Not at all. 83 00:04:20,080 --> 00:04:21,080 Pull up a chair. 84 00:04:21,080 --> 00:04:22,080 Want some coffee? 85 00:04:22,080 --> 00:04:23,080 No, thanks. 86 00:04:23,080 --> 00:04:25,680 I'll get down to brass tacks right away. 87 00:04:25,680 --> 00:04:27,200 Yes, you always do. 88 00:04:27,200 --> 00:04:28,200 I've noticed that. 89 00:04:28,200 --> 00:04:31,400 Well, I'm a pretty self-sufficient kind of a fellow, Wilmot. 90 00:04:31,400 --> 00:04:34,720 I made a name for myself, even if I do say it myself. 91 00:04:34,720 --> 00:04:37,720 But well, the fact is, I need advice. 92 00:04:37,720 --> 00:04:42,280 A successful publisher asking advice from one of his own authors. 93 00:04:42,280 --> 00:04:43,280 That's something new, isn't it? 94 00:04:43,280 --> 00:04:44,280 Now look here, Wilmot, I'm serious. 95 00:04:44,280 --> 00:04:45,280 All right, all right, I take it back. 96 00:04:45,280 --> 00:04:46,280 What's on your mind? 97 00:04:46,280 --> 00:04:52,360 Well, you've studied what we'll call the supernatural, haven't you? 98 00:04:52,360 --> 00:04:55,000 I've lectured and written books about it, yes. 99 00:04:55,000 --> 00:04:57,440 And did you ever meet a ghost? 100 00:04:57,440 --> 00:05:00,800 No, I can't say I ever did. 101 00:05:00,800 --> 00:05:01,800 Have you? 102 00:05:01,800 --> 00:05:04,800 It might only be my own imagination. 103 00:05:04,800 --> 00:05:07,800 Yes, that's what scares me. 104 00:05:07,800 --> 00:05:11,720 You get on in years, and your artery's hardened, and you don't take enough exercise, and you 105 00:05:11,720 --> 00:05:14,720 think something ought to be done about your waistline, but you never bother. 106 00:05:14,720 --> 00:05:18,440 You see, Wilmot, I went to a funeral yesterday. 107 00:05:18,440 --> 00:05:19,440 You did? 108 00:05:19,440 --> 00:05:20,440 Whose funeral was it? 109 00:05:20,440 --> 00:05:22,800 The person who died has nothing to do with this. 110 00:05:22,800 --> 00:05:25,560 It was old Simpson of Harley & Sons. 111 00:05:25,560 --> 00:05:28,600 We thought it was only decent to make up a party and go to the funeral. 112 00:05:28,600 --> 00:05:31,800 I took my secretary along, a girl named Molly Carroll. 113 00:05:31,800 --> 00:05:35,960 I'm leaving for Washington tomorrow, besides I'm moving house, so there was a lot of work 114 00:05:35,960 --> 00:05:36,960 to do. 115 00:05:36,960 --> 00:05:42,040 Where I couldn't stand was that infernal cemetery in the rain. 116 00:05:42,040 --> 00:05:49,200 We must have gone in by the wrong gate, because we were in a neglected, desolate part of the 117 00:05:49,200 --> 00:05:56,200 cemetery where the rank grass grew over the grave. 118 00:05:56,200 --> 00:06:06,280 You'll oblige me, Miss Carroll, if you first find out the proper directions of our places. 119 00:06:06,280 --> 00:06:08,200 We've come in the wrong gate of the cemetery. 120 00:06:08,200 --> 00:06:10,200 Well, I'm sorry, Mr. Templeton, I thought that this... 121 00:06:10,200 --> 00:06:12,200 What you thought doesn't matter now. 122 00:06:12,200 --> 00:06:14,200 This is the wrong part of the cemetery. 123 00:06:14,200 --> 00:06:17,200 My shoes are absolutely ruined with wet clay. 124 00:06:17,200 --> 00:06:20,200 Well, it isn't doing my own choosing stockings any good either, Mr. Templeton. 125 00:06:20,200 --> 00:06:23,200 If there's been any damage to them, Miss Carroll, I'll replace them. 126 00:06:23,200 --> 00:06:26,200 You never found me ungenerous, now have you? 127 00:06:26,200 --> 00:06:28,200 Well, not exactly ungenerous, no. 128 00:06:28,200 --> 00:06:32,200 I'll pay you the compliment, Miss Carroll, saying that you are the best secretary I ever 129 00:06:32,200 --> 00:06:33,200 had. 130 00:06:33,200 --> 00:06:34,200 Thank you. 131 00:06:34,200 --> 00:06:35,200 Yet you want to leave me. 132 00:06:35,200 --> 00:06:38,200 Yes, I want to get married. 133 00:06:38,200 --> 00:06:40,200 That's what Mr. Barnes is telling me. 134 00:06:40,200 --> 00:06:42,200 And who is this caravan of yours? 135 00:06:42,200 --> 00:06:43,200 What does he do? 136 00:06:43,200 --> 00:06:44,200 Does he make any money? 137 00:06:44,200 --> 00:06:46,200 Well, Frank's a radio technician. 138 00:06:46,200 --> 00:06:48,200 He's not very wealthy, I'll admit. 139 00:06:48,200 --> 00:06:49,200 Wealthy? 140 00:06:49,200 --> 00:06:50,200 A radio technician? 141 00:06:50,200 --> 00:06:53,200 I'll bet he doesn't make as much as I pay you. 142 00:06:53,200 --> 00:06:55,200 Yet you want to get married. 143 00:06:55,200 --> 00:06:57,200 Well, is there anything very strange about that? 144 00:06:57,200 --> 00:07:01,200 Yes, if it interferes with your career, if it... 145 00:07:01,200 --> 00:07:03,200 Good Lord. 146 00:07:03,200 --> 00:07:04,200 Look at that. 147 00:07:04,200 --> 00:07:06,200 Look at what, Mr. Templeton? 148 00:07:06,200 --> 00:07:08,200 Over there, where I'm pointing. 149 00:07:08,200 --> 00:07:10,200 You mean that? 150 00:07:10,200 --> 00:07:13,200 That's only an old gravestone covered with weeds and brambles. 151 00:07:13,200 --> 00:07:15,200 I haven't seen that grave in years. 152 00:07:15,200 --> 00:07:17,200 It looks rather neglected. 153 00:07:17,200 --> 00:07:19,200 It is neglected, isn't it? 154 00:07:19,200 --> 00:07:21,200 Will you go closer, please, and read the inscription? 155 00:07:21,200 --> 00:07:23,200 Mr. Templeton. 156 00:07:23,200 --> 00:07:24,200 Do as I tell you, please. 157 00:07:24,200 --> 00:07:26,200 It says... 158 00:07:26,200 --> 00:07:29,200 Let's see if I can get some of these weeds aside. 159 00:07:29,200 --> 00:07:31,200 It says, 160 00:07:31,200 --> 00:07:35,200 SACRED TO THE MEMORY OF MARY ELLEN CLEAVER, 161 00:07:35,200 --> 00:07:39,200 BORN SEPTEMBER 5, 1892, 162 00:07:39,200 --> 00:07:45,200 DEPARTED THIS LIFE, MARCH 25, 1919. 163 00:07:45,200 --> 00:07:49,200 Thou should still be adored as this moment thou art, 164 00:07:49,200 --> 00:07:53,200 Lest thy loveliness fade as it will. 165 00:07:53,200 --> 00:07:56,200 If you lower that umbrella, Mr. Templeton, you'll get soaking wet. 166 00:07:56,200 --> 00:07:58,200 Tentamental crash. 167 00:07:58,200 --> 00:08:00,200 But she always liked it. 168 00:08:00,200 --> 00:08:01,200 She always liked it? 169 00:08:01,200 --> 00:08:03,200 Mary Ellen Cleaver. 170 00:08:03,200 --> 00:08:04,200 Did you know her? 171 00:08:04,200 --> 00:08:06,200 Very well indeed. She was my wife. 172 00:08:06,200 --> 00:08:08,200 Your wife? 173 00:08:08,200 --> 00:08:10,200 But I never knew you were married. 174 00:08:10,200 --> 00:08:12,200 Neither did anybody else. 175 00:08:12,200 --> 00:08:14,200 Where's my flask of brandy? 176 00:08:14,200 --> 00:08:15,200 What have I done with it? 177 00:08:15,200 --> 00:08:18,200 It's in your hip pocket, Mr. Templeton, but do you think that's very wise? 178 00:08:18,200 --> 00:08:20,200 You've already had more than enough. 179 00:08:20,200 --> 00:08:22,200 Whatever I do is wise, Miss Carroll. 180 00:08:22,200 --> 00:08:24,200 We were married very young. 181 00:08:24,200 --> 00:08:26,200 She was a nice little thing. 182 00:08:26,200 --> 00:08:28,200 I was fond of her, yes. 183 00:08:28,200 --> 00:08:30,200 But she couldn't have helped me. 184 00:08:30,200 --> 00:08:32,200 I'm not a snob, but she wasn't in my class. 185 00:08:32,200 --> 00:08:34,200 No style, you know. No manners. 186 00:08:34,200 --> 00:08:35,200 No education. 187 00:08:35,200 --> 00:08:36,200 Indeed. 188 00:08:36,200 --> 00:08:38,200 Could I have been reduced to the friends I was making? 189 00:08:38,200 --> 00:08:39,200 No. 190 00:08:39,200 --> 00:08:41,200 Wouldn't have been kind to her. 191 00:08:41,200 --> 00:08:44,200 She didn't even want to go to the places where I was invited. 192 00:08:44,200 --> 00:08:46,200 She'd sit at home and say, 193 00:08:46,200 --> 00:08:48,200 What was it like? Did you have a nice time? 194 00:08:48,200 --> 00:08:50,200 What was Mrs. So-and-so wearing? 195 00:08:50,200 --> 00:08:52,200 And she loved me. 196 00:08:52,200 --> 00:08:54,200 I'll put that to her credit. 197 00:08:54,200 --> 00:08:55,200 But... 198 00:08:55,200 --> 00:08:56,200 You left her? 199 00:08:56,200 --> 00:08:58,200 I thought it was the kindest thing to do, yes. 200 00:08:58,200 --> 00:09:00,200 She went away. 201 00:09:00,200 --> 00:09:02,200 Then I heard she'd had... 202 00:09:02,200 --> 00:09:03,200 Had what? 203 00:09:03,200 --> 00:09:05,200 Nothing. Doesn't matter. 204 00:09:05,200 --> 00:09:07,200 Well, there was a war on. 205 00:09:07,200 --> 00:09:09,200 I attended the peace conference in Europe. 206 00:09:09,200 --> 00:09:12,200 Never even knew she was dead until I heard some friends had buried her. 207 00:09:12,200 --> 00:09:14,200 I always promised to call her up. 208 00:09:14,200 --> 00:09:17,200 She said she'd come back to me if I did. 209 00:09:17,200 --> 00:09:21,200 You couldn't call her up now, Mr. Templeton, even if you wanted to. 210 00:09:21,200 --> 00:09:23,200 No, I suppose not. 211 00:09:23,200 --> 00:09:25,200 But I was fond of her. 212 00:09:25,200 --> 00:09:27,200 I wished there was something I could do. 213 00:09:27,200 --> 00:09:29,200 You could have her grave cared for. 214 00:09:29,200 --> 00:09:31,200 Have some flowers put on it. 215 00:09:31,200 --> 00:09:33,200 That's it. That's an idea. 216 00:09:33,200 --> 00:09:35,200 She'd have liked that. 217 00:09:35,200 --> 00:09:37,200 Can you take care of that for me? 218 00:09:37,200 --> 00:09:39,200 I'll look after it tomorrow morning, Mr. Templeton. 219 00:09:39,200 --> 00:09:41,200 But how will they ever be able to locate the grave? 220 00:09:41,200 --> 00:09:43,200 There must be thousands in this cemetery. 221 00:09:43,200 --> 00:09:45,200 Well, each grave has a number, you know. 222 00:09:45,200 --> 00:09:47,200 Cut into the stone so you can identify it. 223 00:09:47,200 --> 00:09:51,200 This is number 1212. 224 00:09:51,200 --> 00:09:53,200 1212. 225 00:09:53,200 --> 00:09:55,200 Sounds like a telephone number, doesn't it? 226 00:09:55,200 --> 00:09:57,200 Yes, doesn't it? 227 00:09:57,200 --> 00:09:59,200 Melothaeo 1212. 228 00:09:59,200 --> 00:10:01,200 Poor girl. I was fond of her. 229 00:10:01,200 --> 00:10:03,200 Please, Mr. Templeton, come along. 230 00:10:03,200 --> 00:10:05,200 And please, no more, Brandy. 231 00:10:05,200 --> 00:10:07,200 You've got a funeral to attend. 232 00:10:19,200 --> 00:10:23,200 And then, Wilmot, the night came. 233 00:10:23,200 --> 00:10:25,200 And the horror. What horror? 234 00:10:25,200 --> 00:10:27,200 Take it easy, man. 235 00:10:27,200 --> 00:10:29,200 There's nothing to worry about. 236 00:10:29,200 --> 00:10:31,200 You were sitting here in the Cosmopolites Club. 237 00:10:31,200 --> 00:10:33,200 Yes, but I wasn't sitting in the club last night. 238 00:10:33,200 --> 00:10:35,200 I was on my way home. 239 00:10:35,200 --> 00:10:37,200 And why should that scare you? 240 00:10:37,200 --> 00:10:39,200 I don't know, but it did. 241 00:10:39,200 --> 00:10:41,200 I'd been jumping all day. 242 00:10:41,200 --> 00:10:43,200 That infernal number kept running through my head. 243 00:10:43,200 --> 00:10:45,200 Melothaeo 1212. 244 00:10:45,200 --> 00:10:47,200 Have you ever seen my house? 245 00:10:47,200 --> 00:10:51,200 Yes, it's that big sham Gothic place on Riverside Drive, isn't it? 246 00:10:51,200 --> 00:10:55,200 Yes, big and dark and drafty like a mausoleum. 247 00:10:55,200 --> 00:10:57,200 I told you I was moving house to an apartment downtown. 248 00:10:57,200 --> 00:10:59,200 But there were some papers there. 249 00:10:59,200 --> 00:11:03,200 I had to get out of the safe in the library to take with me to washing tomorrow. 250 00:11:03,200 --> 00:11:05,200 I knew the servants would be gone, of course. 251 00:11:05,200 --> 00:11:11,200 But I hoped Mrs. Bloom, that's my housekeeper, would still be there. 252 00:11:11,200 --> 00:11:17,200 Then, when I went up the park, about 6.30... 253 00:11:17,200 --> 00:11:27,200 Melothaeo 1212. 254 00:11:27,200 --> 00:11:31,200 Melothaeo 1212. 255 00:11:31,200 --> 00:11:33,200 Melothaeo 1212. 256 00:11:39,200 --> 00:11:43,200 Mr. Templeton, this is a surprise. 257 00:11:43,200 --> 00:11:45,200 Sorry to trouble you, Mrs. Bloom. 258 00:11:45,200 --> 00:11:47,200 I think you mislaid my key. 259 00:11:47,200 --> 00:11:49,200 The other day I got a swan I had it on my key ring this morning. 260 00:11:49,200 --> 00:11:51,200 It's no trouble, Mr. Templeton. 261 00:11:51,200 --> 00:11:55,200 Only, I hope you're not planning to spend the night here. 262 00:11:55,200 --> 00:11:57,200 No, I'm going to a hotel. 263 00:11:57,200 --> 00:11:59,200 Why do you ask? 264 00:11:59,200 --> 00:12:03,200 Because they've disconnected everything except the electricity and taken away most of the furniture. 265 00:12:03,200 --> 00:12:05,200 They haven't touched anything in the library. 266 00:12:05,200 --> 00:12:07,200 No, sir. I told them you said to leave that. 267 00:12:07,200 --> 00:12:10,200 But it does seem a pity in a way. 268 00:12:10,200 --> 00:12:12,200 What seems a pity? 269 00:12:12,200 --> 00:12:15,200 I can't make up a lovely home like this after all these years. 270 00:12:15,200 --> 00:12:18,200 Home? This big, ugly picture gallery? 271 00:12:18,200 --> 00:12:20,200 It's been a home to me, sir. 272 00:12:20,200 --> 00:12:22,200 I've treated you generously, haven't I? 273 00:12:22,200 --> 00:12:24,200 Yes, sir. I'm sorry. 274 00:12:24,200 --> 00:12:26,200 I've got several hours' work to do, Mrs. Bloom. 275 00:12:26,200 --> 00:12:28,200 The whole safe's full of papers to sort over. 276 00:12:28,200 --> 00:12:30,200 I'm going to the library and... 277 00:12:30,200 --> 00:12:32,200 What's that you're hiding behind your back? 278 00:12:32,200 --> 00:12:34,200 I'm not hiding anything, sir. 279 00:12:34,200 --> 00:12:36,200 All the same, what is it? 280 00:12:36,200 --> 00:12:38,200 It's only a music box, sir. 281 00:12:38,200 --> 00:12:40,200 I found it in the attic when the moving men were here. 282 00:12:40,200 --> 00:12:42,200 If I hadn't known there were... 283 00:12:42,200 --> 00:12:44,200 well, no ladies in your life, 284 00:12:44,200 --> 00:12:46,200 I'd have said it belonged to one of them. 285 00:12:46,200 --> 00:12:48,200 I love to hear them, sir. 286 00:12:48,200 --> 00:12:50,200 May I? 287 00:12:50,200 --> 00:12:52,200 Mrs. Bloom! Yes, sir. 288 00:12:52,200 --> 00:12:54,200 If you don't want me to smash that music box, turn it off! 289 00:12:54,200 --> 00:12:56,200 Yes, sir. I'm sure I'd never... 290 00:12:56,200 --> 00:12:58,200 I'm going to the library. 291 00:12:58,200 --> 00:13:00,200 If you can find any sandwiches and coffee, bring them. 292 00:13:00,200 --> 00:13:02,200 Yes, sir. 293 00:13:02,200 --> 00:13:04,200 Excuse me. 294 00:13:04,200 --> 00:13:06,200 Same old library. 295 00:13:06,200 --> 00:13:08,200 Same old claw-footed desk. 296 00:13:08,200 --> 00:13:10,200 There's the Venetian mirror she bought for you. 297 00:13:10,200 --> 00:13:12,200 Look at yourself in the mirror, Templeton. 298 00:13:12,200 --> 00:13:14,200 Admit you can't face it. 299 00:13:14,200 --> 00:13:16,200 Admit you can't work here tonight. 300 00:13:16,200 --> 00:13:18,200 Admit you've got to have lights and music and... 301 00:13:18,200 --> 00:13:20,200 That's it. Go out for dinner. 302 00:13:20,200 --> 00:13:22,200 Telephone Wilmot. 303 00:13:22,200 --> 00:13:24,200 They've left the phone. 304 00:13:24,200 --> 00:13:26,200 Oh, yes, good. Here it is. 305 00:13:26,200 --> 00:13:28,200 I'm going to the library. 306 00:13:28,200 --> 00:13:30,200 I'm going to the library. 307 00:13:30,200 --> 00:13:32,200 I'm going to the library. 308 00:13:32,200 --> 00:13:34,200 Oh, yes, good. Here it is. 309 00:13:34,200 --> 00:13:36,200 Hello? Hello? 310 00:13:36,200 --> 00:13:38,200 Yes, sir. Number, please. 311 00:13:38,200 --> 00:13:40,200 I, uh... 312 00:13:40,200 --> 00:13:42,200 Number, please. 313 00:13:42,200 --> 00:13:44,200 I want, uh... 314 00:13:44,200 --> 00:13:46,200 Meadowvale 1212. 315 00:13:46,200 --> 00:13:48,200 Meadowvale 1212. 316 00:13:48,200 --> 00:13:50,200 Wait, what the devil's name am I saying? 317 00:13:50,200 --> 00:13:52,200 Change that, I want... 318 00:13:52,200 --> 00:13:54,200 Hello, my darling. I knew you'd call me when you needed me. 319 00:13:54,200 --> 00:13:56,200 Who is that speaking? Who are you? 320 00:13:56,200 --> 00:13:58,200 It's Mary Ellen, dear. 321 00:13:58,200 --> 00:14:00,200 Don't you recognize my voice? 322 00:14:00,200 --> 00:14:02,200 No, you're not Mary Ellen. 323 00:14:02,200 --> 00:14:04,200 This is sick. Mary Ellen is dead. 324 00:14:04,200 --> 00:14:06,200 Yes, it is. But the dead sleep lightly. 325 00:14:06,200 --> 00:14:08,200 And they can be lonely, too. 326 00:14:08,200 --> 00:14:10,200 And now that you do need me... 327 00:14:10,200 --> 00:14:12,200 I don't need you. I don't need anybody. 328 00:14:12,200 --> 00:14:14,200 I'm coming back to join you, dear. 329 00:14:14,200 --> 00:14:16,200 It's not easy, but... 330 00:14:16,200 --> 00:14:18,200 I'll be there by the time the clock strikes seven. 331 00:14:18,200 --> 00:14:20,200 I'll wear a veil, because I don't look very pretty. 332 00:14:20,200 --> 00:14:22,200 I won't have this. I won't listen to you. 333 00:14:22,200 --> 00:14:24,200 I won't... 334 00:14:24,200 --> 00:14:26,200 Goodbye, my dear. 335 00:14:26,200 --> 00:14:28,200 Remember, when the clock strikes seven, 336 00:14:28,200 --> 00:14:30,200 when the clock strikes seven... 337 00:14:30,200 --> 00:14:32,200 Mrs. Bloom, Mrs. Bloom! 338 00:14:34,200 --> 00:14:36,200 Mr. Templeton, what on earth is the matter? 339 00:14:36,200 --> 00:14:38,200 Who's been playing tricks on me? 340 00:14:38,200 --> 00:14:40,200 Tricks, sir. I don't understand. 341 00:14:40,200 --> 00:14:42,200 Who spoke to me on this phone? 342 00:14:42,200 --> 00:14:44,200 But, sir, nobody could have spoken to you on that phone. 343 00:14:44,200 --> 00:14:46,200 Nobody could have? What are you talking about? 344 00:14:46,200 --> 00:14:48,200 That phone's disconnected, sir. 345 00:14:48,200 --> 00:14:50,200 Disconnected? Yes, sir. 346 00:14:50,200 --> 00:14:52,200 The man came here this afternoon and took that little mother box off the wall 347 00:14:52,200 --> 00:14:54,200 and rolled all the wires up 348 00:14:54,200 --> 00:14:56,200 and put everything on the desk there. 349 00:14:56,200 --> 00:14:58,200 Said he'd be back tomorrow to take it away. 350 00:14:58,200 --> 00:15:00,200 Mrs. Bloom, that's impossible. 351 00:15:00,200 --> 00:15:02,200 Look for yourself, sir. 352 00:15:02,200 --> 00:15:04,200 You're standing in the middle of the room holding that phone 353 00:15:04,200 --> 00:15:06,200 and the wires don't lead anywhere. 354 00:15:06,200 --> 00:15:08,200 Sir, that's true. 355 00:15:08,200 --> 00:15:10,200 So you couldn't very well have talked to anybody 356 00:15:10,200 --> 00:15:12,200 on the phone that wasn't connected? 357 00:15:12,200 --> 00:15:14,200 Now could you? I tell you, I got the operator. 358 00:15:14,200 --> 00:15:16,200 I heard it ring. I talked to... 359 00:15:16,200 --> 00:15:18,200 to someone else. 360 00:15:18,200 --> 00:15:20,200 Oh? And what did that person say? 361 00:15:20,200 --> 00:15:22,200 She said 362 00:15:22,200 --> 00:15:24,200 she'd be here to visit me 363 00:15:24,200 --> 00:15:26,200 when... 364 00:15:36,200 --> 00:15:38,200 Mr. Templeton wants the map. 365 00:15:38,200 --> 00:15:40,200 The phone is disconnected. 366 00:15:40,200 --> 00:15:42,200 The phone is disconnected. 367 00:15:42,200 --> 00:15:44,200 The phone is disconnected. 368 00:15:44,200 --> 00:15:46,200 The phone is disconnected. 369 00:15:46,200 --> 00:15:48,200 And so, Wilmot, 370 00:15:48,200 --> 00:15:50,200 that's what happened last night. 371 00:15:50,200 --> 00:15:52,200 The phone was disconnected. It was Mary Ellen's voice. 372 00:15:52,200 --> 00:15:54,200 There's no doubt about that. 373 00:15:54,200 --> 00:15:56,200 Am I out of my mind or what? 374 00:15:56,200 --> 00:15:58,200 Before I say anything about that, my friend... 375 00:15:58,200 --> 00:16:00,200 Well? 376 00:16:00,200 --> 00:16:02,200 Let's hear the end of your story. 377 00:16:02,200 --> 00:16:04,200 What did happen when the clock struck seven? 378 00:16:04,200 --> 00:16:06,200 I don't know. 379 00:16:06,200 --> 00:16:08,200 You don't know? No, I lost my head. 380 00:16:08,200 --> 00:16:10,200 Ran out of that house as though the devil were after me. 381 00:16:10,200 --> 00:16:12,200 Maybe he was. 382 00:16:12,200 --> 00:16:14,200 And since then? I spent the night at the hotel. 383 00:16:14,200 --> 00:16:16,200 Today, I've walked past that house 384 00:16:16,200 --> 00:16:18,200 fifty times, a hundred times, 385 00:16:18,200 --> 00:16:20,200 trying to muster up enough nerve 386 00:16:20,200 --> 00:16:22,200 to go in. 387 00:16:22,200 --> 00:16:24,200 I couldn't do it, but I've got to go in there. 388 00:16:24,200 --> 00:16:26,200 Why? 389 00:16:26,200 --> 00:16:28,200 It's those papers I've got to take to Washington. 390 00:16:28,200 --> 00:16:30,200 Send somebody else to get them. 391 00:16:30,200 --> 00:16:32,200 I can't do that, Wilmot. It's confidential information 392 00:16:32,200 --> 00:16:34,200 for the government. 393 00:16:34,200 --> 00:16:36,200 I've thought of everything. 394 00:16:36,200 --> 00:16:38,200 I've even bought a revolver, see? 395 00:16:38,200 --> 00:16:40,200 For the love of heaven, man, put that gun away. 396 00:16:40,200 --> 00:16:42,200 You want the other club members to think you have gone insane? 397 00:16:42,200 --> 00:16:44,200 Then I thought of you. 398 00:16:44,200 --> 00:16:46,200 You know all the tricks of fake spiritualists. 399 00:16:46,200 --> 00:16:48,200 You've written about it, lectured about it. 400 00:16:48,200 --> 00:16:50,200 Which reminds me, by the way, 401 00:16:50,200 --> 00:16:52,200 that I'm lecturing before the Acropolis Club 402 00:16:52,200 --> 00:16:54,200 in about twenty minutes. You've got to break that engagement, Wilmot. 403 00:16:54,200 --> 00:16:56,200 Why? 404 00:16:56,200 --> 00:16:58,200 Because you're going with me to my house, tonight, now. 405 00:16:58,200 --> 00:17:00,200 That's impossible, old man. Now sit quietly and listen to me. 406 00:17:00,200 --> 00:17:02,200 I'll go with you willingly, tomorrow morning. 407 00:17:02,200 --> 00:17:04,200 That's too late. I'm taking an early play to Washington. 408 00:17:04,200 --> 00:17:06,200 Well, then, wait until I can get away from the lecture. 409 00:17:06,200 --> 00:17:08,200 Say, uh, around midnight. 410 00:17:08,200 --> 00:17:10,200 I'll tell you what I'll do. 411 00:17:10,200 --> 00:17:12,200 I'll take a taxi and join you as soon as I can. 412 00:17:12,200 --> 00:17:14,200 That won't do. 413 00:17:14,200 --> 00:17:16,200 I've got to know. 414 00:17:16,200 --> 00:17:18,200 I've got to know the answer now. Do you understand? 415 00:17:18,200 --> 00:17:20,200 Aren't you being a little unreasonable about this? 416 00:17:20,200 --> 00:17:22,200 Unreasonable or not, I usually get my own way, and I need to have it now. 417 00:17:22,200 --> 00:17:24,200 Well, then, I'm afraid you'll have to go to the house alone. 418 00:17:24,200 --> 00:17:26,200 Besides, you know, Wilmot, 419 00:17:26,200 --> 00:17:28,200 you worry me. 420 00:17:28,200 --> 00:17:30,200 You sit there puffing at that pipe 421 00:17:30,200 --> 00:17:32,200 and looking at me out of those queer eyes of yours 422 00:17:32,200 --> 00:17:34,200 like a young Satan. 423 00:17:34,200 --> 00:17:36,200 I've often wondered 424 00:17:36,200 --> 00:17:38,200 what you were really thinking about. 425 00:17:38,200 --> 00:17:40,200 Since you flatter my intelligence so much, 426 00:17:40,200 --> 00:17:42,200 I was wondering 427 00:17:42,200 --> 00:17:44,200 whether you'd been quite frank with me. 428 00:17:44,200 --> 00:17:46,200 How? 429 00:17:46,200 --> 00:17:48,200 About your late wife, Mary Ellen Kleber. 430 00:17:48,200 --> 00:17:50,200 What about her? 431 00:17:50,200 --> 00:17:52,200 Well, after she left you, 432 00:17:52,200 --> 00:17:54,200 something happened that, uh, 433 00:17:54,200 --> 00:17:56,200 you don't like to talk about. 434 00:17:56,200 --> 00:17:58,200 Was there by any chance, uh, a child, 435 00:17:58,200 --> 00:18:00,200 a son, for instance, or... 436 00:18:00,200 --> 00:18:02,200 Did you say a son? 437 00:18:02,200 --> 00:18:04,200 Yes. I don't know what you're talking about. 438 00:18:04,200 --> 00:18:06,200 Well, then, let's agree 439 00:18:06,200 --> 00:18:08,200 not to understand each other, shall we? 440 00:18:08,200 --> 00:18:10,200 Now, are you coming with me or aren't you? 441 00:18:10,200 --> 00:18:12,200 I tell you, man, I'll get there as soon as I can. 442 00:18:12,200 --> 00:18:14,200 All I can think about 443 00:18:14,200 --> 00:18:16,200 is the wet red clay in that cemetery 444 00:18:16,200 --> 00:18:18,200 and the dismal grave 445 00:18:18,200 --> 00:18:20,200 and the rain 446 00:18:20,200 --> 00:18:22,200 and what her face might look like 447 00:18:22,200 --> 00:18:24,200 if she raised the veil 448 00:18:24,200 --> 00:18:26,200 and... 449 00:18:26,200 --> 00:18:28,200 What am I going to see in that house? 450 00:18:28,200 --> 00:18:42,200 What am I going to see in that house? 451 00:18:42,200 --> 00:18:44,200 Though the clocks chime, 452 00:18:44,200 --> 00:18:46,200 the hours dwindle, 453 00:18:46,200 --> 00:18:48,200 and the traffic roar of the city 454 00:18:48,200 --> 00:18:50,200 sinks to a low growl behind twinkling lights, 455 00:18:50,200 --> 00:18:52,200 it is midnight. 456 00:18:52,200 --> 00:18:54,200 When a taxi moves along a certain street 457 00:18:54,200 --> 00:18:56,200 towards a certain house 458 00:18:56,200 --> 00:18:58,200 out of a bygone age, 459 00:18:58,200 --> 00:19:00,200 lightless, black against the stars, 460 00:19:00,200 --> 00:19:02,200 surrounded by iron railings 461 00:19:02,200 --> 00:19:04,200 and with a path bordered by fir trees 462 00:19:04,200 --> 00:19:06,200 leading to the front door, 463 00:19:06,200 --> 00:19:08,200 look, too, with the face of Mr. Patrick Wilmot 464 00:19:08,200 --> 00:19:10,200 when that taxi draws near. 465 00:19:10,200 --> 00:19:12,200 when that taxi draws near. 466 00:19:12,200 --> 00:19:14,200 When that taxi draws near. 467 00:19:14,200 --> 00:19:16,200 All right, driver, 468 00:19:16,200 --> 00:19:18,200 this is the place. 469 00:19:18,200 --> 00:19:26,200 I'll be in a way, sir. 470 00:19:26,200 --> 00:19:28,200 No, you needn't wait. 471 00:19:28,200 --> 00:19:30,200 Keep the change. 472 00:19:30,200 --> 00:19:32,200 Thank you, sir. Good night. 473 00:19:32,200 --> 00:19:34,200 So the front gate is open. 474 00:19:34,200 --> 00:19:36,200 And he did go in. 475 00:19:36,200 --> 00:19:38,200 I beg your pardon. 476 00:19:38,200 --> 00:19:40,200 I didn't mean to bump into you. 477 00:19:40,200 --> 00:19:42,200 I'm sorry. 478 00:19:42,200 --> 00:19:44,200 I'm sorry. 479 00:19:44,200 --> 00:19:46,200 I'm sorry. 480 00:19:46,200 --> 00:19:48,200 I'm sorry. 481 00:19:48,200 --> 00:19:50,200 I'm sorry. 482 00:19:50,200 --> 00:19:52,200 Sir Wilmot. 483 00:19:52,200 --> 00:19:54,200 Wilmot. 484 00:19:54,200 --> 00:19:56,200 Yes, please. 485 00:19:56,200 --> 00:19:58,200 Mr. Wilmot. 486 00:19:58,200 --> 00:20:00,200 My name is so great to see you. 487 00:20:00,200 --> 00:20:02,200 And a good friend. 488 00:20:02,200 --> 00:20:04,200 I'm sorry. 489 00:20:04,200 --> 00:20:06,200 Mr. Wilmot, 490 00:20:06,200 --> 00:20:08,200 I'm sorry. 491 00:20:08,200 --> 00:20:10,200 I'm sorry. 492 00:20:10,200 --> 00:20:12,200 What are you doing here? 493 00:20:12,200 --> 00:20:14,200 What are you doing here? 494 00:20:14,200 --> 00:20:16,400 to go with him to this house. 495 00:20:16,400 --> 00:20:19,160 Evidently, I wasn't the only person he applied to. 496 00:20:20,120 --> 00:20:21,720 Shall we go in? 497 00:20:21,720 --> 00:20:23,800 Yes, but the whole house is dark. 498 00:20:23,800 --> 00:20:24,760 Suppose he isn't there. 499 00:20:24,760 --> 00:20:26,600 He's there, all right. 500 00:20:26,600 --> 00:20:28,440 You don't know men like Bert Templeton. 501 00:20:28,440 --> 00:20:29,560 But I... 502 00:20:29,560 --> 00:20:30,960 I'll push the gate wider. 503 00:20:34,080 --> 00:20:36,400 Now, straight up the walk to the front door. 504 00:20:37,360 --> 00:20:38,680 I've got a flashlight. 505 00:20:38,680 --> 00:20:40,560 What are we going to find? 506 00:20:40,560 --> 00:20:42,800 Something rather unpleasant, I'd better warn you. 507 00:20:42,800 --> 00:20:44,480 How do you know? 508 00:20:44,480 --> 00:20:46,880 I have my ways of knowing, Miss Carroll. 509 00:20:46,880 --> 00:20:47,800 Oh, look. 510 00:20:47,800 --> 00:20:48,760 What is it? 511 00:20:48,760 --> 00:20:51,320 That French window to the left of the front door. 512 00:20:51,320 --> 00:20:52,160 Yeah. 513 00:20:52,160 --> 00:20:53,960 It's partly open. 514 00:20:53,960 --> 00:20:56,640 Well, there's nothing in that, necessarily. 515 00:20:56,640 --> 00:20:58,040 Templeton said he'd lost his key. 516 00:20:58,040 --> 00:20:59,320 He might have had to open a window. 517 00:20:59,320 --> 00:21:01,680 That's true, but... 518 00:21:01,680 --> 00:21:03,200 So you see it too, do you? 519 00:21:03,200 --> 00:21:04,880 See what? 520 00:21:04,880 --> 00:21:07,480 There's a footprint across the sill of that French window. 521 00:21:07,480 --> 00:21:10,600 A footprint made in wet clay. 522 00:21:10,600 --> 00:21:13,840 Like...like the clay of the cemetery. 523 00:21:13,840 --> 00:21:15,960 So I should imagine. 524 00:21:15,960 --> 00:21:17,520 Will you go in first or shall I? 525 00:21:17,520 --> 00:21:19,600 Into that dark room, I will not. 526 00:21:19,600 --> 00:21:21,760 Well, then stay here, please, until I get some lights on. 527 00:21:21,760 --> 00:21:22,720 No, wait. 528 00:21:22,720 --> 00:21:23,800 I'll go. 529 00:21:23,800 --> 00:21:24,800 Let me take your arm. 530 00:21:24,800 --> 00:21:26,120 All right, be careful now. 531 00:21:28,840 --> 00:21:31,600 Hmm, I thought so. 532 00:21:31,600 --> 00:21:33,800 This room is the library. 533 00:21:33,800 --> 00:21:36,800 And there are more footprints of somebody 534 00:21:36,800 --> 00:21:38,960 or something walking in. 535 00:21:38,960 --> 00:21:40,960 They lead... 536 00:21:40,960 --> 00:21:42,960 Who's there? 537 00:21:42,960 --> 00:21:44,160 Who's there? 538 00:21:44,160 --> 00:21:47,200 It's only me, sir, Mrs. Bloom, the housekeeper. 539 00:21:47,200 --> 00:21:48,800 Then what's the idea of standing in a dark room 540 00:21:48,800 --> 00:21:50,640 in the middle of the night with what sounds like... 541 00:21:50,640 --> 00:21:52,640 It's only a music box, sir. 542 00:21:52,640 --> 00:21:54,960 I left it behind along with some other things 543 00:21:54,960 --> 00:21:56,720 and came back to get them. 544 00:21:56,720 --> 00:21:58,920 I've got my own key. 545 00:21:58,920 --> 00:22:00,560 I thought I heard a noise in here. 546 00:22:00,560 --> 00:22:01,760 But why aren't there any lights? 547 00:22:01,760 --> 00:22:03,800 The electricity's cut off, sir. 548 00:22:03,800 --> 00:22:06,080 It was cut off today. 549 00:22:06,080 --> 00:22:08,240 I see. 550 00:22:08,240 --> 00:22:11,200 Now, if Templeton is here or was here, 551 00:22:11,200 --> 00:22:14,360 he's not had some kind of light. 552 00:22:14,360 --> 00:22:16,440 If I turn this flashlight on the desk, maybe... 553 00:22:16,440 --> 00:22:17,200 Ah! 554 00:22:17,200 --> 00:22:18,360 Be quiet, Miss Carroll! 555 00:22:18,360 --> 00:22:19,240 What is it, sir? 556 00:22:19,240 --> 00:22:21,360 I'm as blind as a bat without my glasses. 557 00:22:21,360 --> 00:22:22,360 It's Mr. Templeton. 558 00:22:22,360 --> 00:22:23,760 He's lying on the floor beside the desk. 559 00:22:23,760 --> 00:22:25,120 Oh, he isn't... 560 00:22:25,120 --> 00:22:26,840 No, he isn't dead. 561 00:22:26,840 --> 00:22:28,080 His face is the color of putty. 562 00:22:28,080 --> 00:22:30,080 I think he's had some kind of stroke. 563 00:22:30,080 --> 00:22:31,240 We'd better not take any chances. 564 00:22:31,240 --> 00:22:32,040 Mrs. Bloom? 565 00:22:32,040 --> 00:22:32,920 Yes, sir? 566 00:22:32,920 --> 00:22:34,120 Get outside to the nearest telephone 567 00:22:34,120 --> 00:22:34,920 and call for an ambulance. 568 00:22:34,920 --> 00:22:36,240 Telements an emergency case. 569 00:22:36,240 --> 00:22:37,800 You're Mr. Wilmot, aren't you? 570 00:22:37,800 --> 00:22:40,200 But... but what's happened to him? 571 00:22:40,200 --> 00:22:41,600 Ask a dead woman. 572 00:22:41,600 --> 00:22:43,200 I beg your pardon. 573 00:22:43,200 --> 00:22:44,360 Never mind. Hurry! 574 00:22:44,360 --> 00:22:48,360 Of course I'll hurry, Mr. Wilmot. 575 00:22:48,360 --> 00:22:49,920 What are we going to do? 576 00:22:49,920 --> 00:22:52,280 Let's have a look around. 577 00:22:52,280 --> 00:22:54,560 Templeton seems to have been working at his papers 578 00:22:54,560 --> 00:22:56,560 by the light of a couple of candles, 579 00:22:56,560 --> 00:22:59,080 which somebody's blown out. 580 00:22:59,080 --> 00:23:02,280 We'll relight them. 581 00:23:02,280 --> 00:23:04,080 There's the desk. 582 00:23:04,080 --> 00:23:05,760 There's all the papers. 583 00:23:05,760 --> 00:23:06,400 Scattered round him. 584 00:23:06,400 --> 00:23:07,840 Mr. Wilmot, please! 585 00:23:07,840 --> 00:23:09,720 What happened to him? 586 00:23:09,720 --> 00:23:11,840 I'll tell you. 587 00:23:11,840 --> 00:23:14,280 As he sat there in the dim light of two candles, 588 00:23:14,280 --> 00:23:17,120 a ghostly figure appeared at that French window. 589 00:23:17,120 --> 00:23:19,040 It wore a long, old-fashioned skirt 590 00:23:19,040 --> 00:23:21,640 and a heavy black veil to hide the face. 591 00:23:21,640 --> 00:23:23,240 It walked toward Templeton, 592 00:23:23,240 --> 00:23:25,160 tracking graveyard clay. 593 00:23:25,160 --> 00:23:27,400 It stretched its arms to him like this. 594 00:23:27,400 --> 00:23:28,640 Keep away from me, please! 595 00:23:28,640 --> 00:23:29,680 Templeton couldn't stand it. 596 00:23:29,680 --> 00:23:32,160 He collapsed. 597 00:23:32,160 --> 00:23:35,040 And now, before the old housekeeper returns, 598 00:23:35,040 --> 00:23:36,680 did you care to hear how the whole trick was worth? 599 00:23:36,680 --> 00:23:37,480 Trick? 600 00:23:37,480 --> 00:23:38,840 What trick? 601 00:23:38,840 --> 00:23:40,240 Have you heard about the ghost voice 602 00:23:40,240 --> 00:23:42,000 that talked on a disconnected telephone? 603 00:23:42,000 --> 00:23:42,640 Oh, yes. 604 00:23:42,640 --> 00:23:44,440 Yes, he said something about it this morning, 605 00:23:44,440 --> 00:23:46,440 but I thought he wasn't himself. 606 00:23:46,440 --> 00:23:48,880 He wasn't, but he heard it. 607 00:23:48,880 --> 00:23:52,400 Remember Mrs. Bloom's story about the telephone man? 608 00:23:52,400 --> 00:23:53,960 Yes. 609 00:23:53,960 --> 00:23:56,440 They don't send a man round to yank the whole apparatus off 610 00:23:56,440 --> 00:23:58,000 the wall, put it on the desk, and say 611 00:23:58,000 --> 00:24:00,200 he'll be back for it next day. 612 00:24:00,200 --> 00:24:02,800 This man from the telephone company was an imposter. 613 00:24:02,800 --> 00:24:05,880 The man from the telephone company was an imposter? 614 00:24:05,880 --> 00:24:07,240 Exactly. 615 00:24:07,240 --> 00:24:09,240 Oh, look, he's moving his hand. 616 00:24:09,240 --> 00:24:11,120 He's trying to open his eyes. 617 00:24:11,120 --> 00:24:12,960 Isn't there anything we can do for him? 618 00:24:12,960 --> 00:24:15,400 No, there's nothing we can do until the doctor arrives. 619 00:24:15,400 --> 00:24:16,840 In the meantime, listen to me. 620 00:24:16,840 --> 00:24:17,920 All right. 621 00:24:17,920 --> 00:24:19,800 What did this imposter do? 622 00:24:19,800 --> 00:24:22,560 He took away the real phone and substituted a spirit 623 00:24:22,560 --> 00:24:23,640 telephone. 624 00:24:23,640 --> 00:24:25,680 You don't know what a spirit telephone is? 625 00:24:25,680 --> 00:24:27,240 No, of course not. 626 00:24:27,240 --> 00:24:30,200 It's an old device used by fake mediums. 627 00:24:30,200 --> 00:24:32,840 You see a telephone without wires standing on a desk, 628 00:24:32,840 --> 00:24:34,320 like that one. 629 00:24:34,320 --> 00:24:37,040 You pick up the receiver and talk to the dead. 630 00:24:37,040 --> 00:24:39,320 Of course, you never really talk into the phone at all. 631 00:24:39,320 --> 00:24:41,080 But if you don't talk into the phone, then? 632 00:24:41,080 --> 00:24:44,040 Sixth, underneath the desk is a tiny microphone 633 00:24:44,040 --> 00:24:47,320 with hidden wires leading to another room in the same house. 634 00:24:47,320 --> 00:24:49,000 That microphone picks up every word 635 00:24:49,000 --> 00:24:50,440 you think you were saying to the phone. 636 00:24:50,440 --> 00:24:51,600 Is that clear? 637 00:24:51,600 --> 00:24:53,200 I think so. 638 00:24:53,200 --> 00:24:55,360 Well, the dummy telephone is really a low power 639 00:24:55,360 --> 00:24:57,200 radio receiving set. 640 00:24:57,200 --> 00:24:59,160 Somebody in another room can talk back to you 641 00:24:59,160 --> 00:25:01,640 after hearing what you say on the wired microphone. 642 00:25:01,640 --> 00:25:02,800 Then Mr. Templeton? 643 00:25:02,800 --> 00:25:06,280 If Templeton hadn't rung meadow veil 1212, 644 00:25:06,280 --> 00:25:08,760 then rest assured that same number would have rung him. 645 00:25:08,760 --> 00:25:10,920 Well, then the scheme couldn't fail either way. 646 00:25:10,920 --> 00:25:13,720 But you see, there's one thing in this matter 647 00:25:13,720 --> 00:25:15,720 I haven't got quite clear even yet. 648 00:25:15,720 --> 00:25:16,960 And what's that? 649 00:25:16,960 --> 00:25:19,120 Tell me, Miss Carroll, just why did you work this whole trick? 650 00:25:19,120 --> 00:25:20,680 Why did you try to scare your father to death? 651 00:25:20,680 --> 00:25:21,480 My father? 652 00:25:21,480 --> 00:25:24,600 Templeton is your father, isn't he? 653 00:25:24,600 --> 00:25:28,760 That might be rather difficult to prove, Mr. Wilmoth. 654 00:25:28,760 --> 00:25:30,520 By George, I admire you. 655 00:25:30,520 --> 00:25:31,960 Thanks very much. 656 00:25:31,960 --> 00:25:32,880 I'm flattered. 657 00:25:32,880 --> 00:25:34,480 Expressionless as ever. 658 00:25:34,480 --> 00:25:39,160 Eyes as hard and cold and blue and handsome as, well, 659 00:25:39,160 --> 00:25:40,720 make your own comparisons. 660 00:25:40,720 --> 00:25:42,200 But I knew you were guilty, of course, 661 00:25:42,200 --> 00:25:43,840 when I heard your fiancee was a radio techie. 662 00:25:43,840 --> 00:25:45,240 You can leave Frank out of this. 663 00:25:45,240 --> 00:25:48,000 Oh, you have scruples. 664 00:25:48,000 --> 00:25:48,920 Have I touched you? 665 00:25:48,920 --> 00:25:52,200 Nothing can touch me, not since my mother died. 666 00:25:52,200 --> 00:25:54,320 Your fiancee installed a ghost mechanism 667 00:25:54,320 --> 00:25:55,240 and took it away today. 668 00:25:55,240 --> 00:25:56,680 He probably thought it was only a joke. 669 00:25:56,680 --> 00:25:57,080 He did. 670 00:25:57,080 --> 00:25:58,200 I swear he did. 671 00:25:58,200 --> 00:25:59,880 The rest of it was plain enough. 672 00:25:59,880 --> 00:26:01,840 Who led Templeton to the wrong gate in the cemetery 673 00:26:01,840 --> 00:26:02,880 past that woman's grave? 674 00:26:02,880 --> 00:26:03,760 You did. 675 00:26:03,760 --> 00:26:06,160 Who was the only one who could have stolen the key to this house 676 00:26:06,160 --> 00:26:07,560 off that key ring he took to the office? 677 00:26:07,560 --> 00:26:08,480 You were. 678 00:26:08,480 --> 00:26:10,400 You needed that key to come and go as you liked 679 00:26:10,400 --> 00:26:12,160 and impersonate the two voices on the phone. 680 00:26:12,160 --> 00:26:14,080 Is there any need to go on with this? 681 00:26:14,080 --> 00:26:16,400 He killed her, you know. 682 00:26:16,400 --> 00:26:18,640 What do you mean, Templeton killed your mother? 683 00:26:18,640 --> 00:26:21,720 Oh, not with a knife or a bullet or poison. 684 00:26:21,720 --> 00:26:24,160 All he did was break her heart. 685 00:26:24,160 --> 00:26:25,840 And that's no offense in law. 686 00:26:25,840 --> 00:26:26,680 Yeah, steady now. 687 00:26:26,680 --> 00:26:28,560 Well, I've done what I wanted to do. 688 00:26:28,560 --> 00:26:31,040 I've torn his whole rotten life to pieces. 689 00:26:31,040 --> 00:26:33,520 And there he is gasping for breath on the floor. 690 00:26:33,520 --> 00:26:34,640 And I'm glad. 691 00:26:34,640 --> 00:26:37,560 I'm glad I'm glad. 692 00:26:37,560 --> 00:26:39,280 Oh, God, forgive me. 693 00:26:39,280 --> 00:26:41,120 He is my father. 694 00:26:41,120 --> 00:26:42,240 Does he know you're his daughter? 695 00:26:42,240 --> 00:26:43,000 No. 696 00:26:43,000 --> 00:26:44,800 Oh, of course not. 697 00:26:44,800 --> 00:26:47,400 When I went to work for him as a secretary, 698 00:26:47,400 --> 00:26:49,840 he hadn't even seen me since I was a child. 699 00:26:49,840 --> 00:26:51,240 But I got near him. 700 00:26:51,240 --> 00:26:53,520 I worked for years to get near him. 701 00:26:53,520 --> 00:26:54,760 No. 702 00:26:54,760 --> 00:26:55,680 I wish I hadn't. 703 00:26:55,680 --> 00:26:57,720 Now, look here, you've got to pull yourself together. 704 00:26:57,720 --> 00:26:58,240 Why? 705 00:26:58,240 --> 00:27:00,000 Who cares? 706 00:27:00,000 --> 00:27:01,800 The ambulance coming and maybe the police. 707 00:27:01,800 --> 00:27:02,760 What do I care? 708 00:27:02,760 --> 00:27:04,240 Tell the police what you like. 709 00:27:04,240 --> 00:27:07,400 My dear girl, you don't think I will tell them anything. 710 00:27:07,400 --> 00:27:09,640 I'm merely an onlooker, an amateur 711 00:27:09,640 --> 00:27:13,320 Satan who doesn't believe in ghost voices. 712 00:27:13,320 --> 00:27:14,160 What's that? 713 00:27:14,160 --> 00:27:15,280 Templeton, his eyes are open. 714 00:27:15,280 --> 00:27:17,640 He's trying to get up. 715 00:27:17,640 --> 00:27:21,240 It's as though he could see something that we can't. 716 00:27:21,240 --> 00:27:22,760 What's that he's got in his hand? 717 00:27:22,760 --> 00:27:23,600 It's a revolver. 718 00:27:23,600 --> 00:27:24,480 He had one at the club. 719 00:27:24,480 --> 00:27:25,960 He's putting it against his chest. 720 00:27:25,960 --> 00:27:26,680 I'll stop him. 721 00:27:26,680 --> 00:27:27,080 Look out. 722 00:27:27,080 --> 00:27:27,560 Look out. 723 00:27:27,560 --> 00:27:30,320 Oh. 724 00:27:30,320 --> 00:27:33,160 He did love her after all. 725 00:27:33,160 --> 00:27:35,880 And now he's tried to join her. 726 00:27:35,880 --> 00:27:37,000 Oh, don't let him die. 727 00:27:37,000 --> 00:27:37,880 It's all right, Molly. 728 00:27:37,880 --> 00:27:39,360 You grabbed a gun just in time. 729 00:27:39,360 --> 00:27:42,640 If he doesn't die, I'll make it up to him. 730 00:27:42,640 --> 00:27:44,440 I swear I'll make it up to him. 731 00:27:44,440 --> 00:27:46,720 I tell you now, he's not going to die. 732 00:27:46,720 --> 00:27:47,600 But. 733 00:27:47,600 --> 00:27:48,600 Mary Ellen. 734 00:27:48,600 --> 00:27:49,960 Mary Ellen. 735 00:27:49,960 --> 00:27:50,920 Mary Ellen. 736 00:27:50,920 --> 00:27:51,960 But what? 737 00:27:51,960 --> 00:27:52,600 But what? 738 00:27:52,600 --> 00:27:53,120 Mary Ellen. 739 00:27:53,120 --> 00:27:58,320 I was just wondering, is there a ghost in this room tonight? 740 00:27:58,320 --> 00:28:24,920 And so closes The Dead Sleep Lightly, starring Walter Hemsden, 741 00:28:24,920 --> 00:28:27,760 Susan Hayward, and Lee Bowman. 742 00:28:27,760 --> 00:28:30,520 Tonight's tale of suspense. 743 00:28:34,960 --> 00:28:38,640 This is your narrator, the man in black, 744 00:28:38,640 --> 00:28:40,520 who conveys to you Columbia's invitation 745 00:28:40,520 --> 00:28:46,360 to spend this half hour in suspense with us again next Tuesday. 746 00:28:46,360 --> 00:28:50,200 As Hayward appeared through the courtesy of Paramount Pictures, 747 00:28:50,200 --> 00:28:52,320 and Mr. Bowman appeared through the courtesy of Metro 748 00:28:52,320 --> 00:28:55,640 Golden Mayor Studios. 749 00:28:55,640 --> 00:28:58,080 William Spear, the producer, John Deet, the director, 750 00:28:58,080 --> 00:29:00,360 Bernard Herman, the composer, conductor, 751 00:29:00,360 --> 00:29:27,640 and John Dixon Carr, the author, collaborated on tonight's suspense. 752 00:29:27,640 --> 00:29:31,040 This is the Columbia Broadcasting System.