WEBVTT 00:00.000 --> 00:01.000 Suspense. 00:01.000 --> 00:22.040 This is the man in black. 00:22.040 --> 00:27.240 Here again to introduce Columbia's program, Suspense. 00:27.240 --> 00:30.040 Our stars this evening are three. 00:30.040 --> 00:35.040 In the order of their appearance they are Walter Hempton, one of the theater's proudest 00:35.040 --> 00:41.360 names for two generations, and Susan Hayworth and Lee Bowman, two of Hollywood's brightest 00:41.360 --> 00:43.520 younger stars. 00:43.520 --> 00:53.600 The story called The Dead Sleep Lightly by John Dixon Carr is tonight's tale of Suspense. 00:53.600 --> 00:57.640 If you've been with us on these Tuesday nights, you will know that Suspense is compounded 00:57.640 --> 01:01.680 of mystery and suspicion and dangerous adventure. 01:01.680 --> 01:06.400 In this series our tales are calculated to intrigue you, to stir your nerves, to offer 01:06.400 --> 01:12.600 you a precarious situation, and then withhold the solution until the last possible moment. 01:12.600 --> 01:18.280 And so with The Dead Sleep Lightly, and with the performances of Walter Hempton, Susan 01:18.280 --> 01:25.920 Hayworth, and Lee Bowman, we again hope to keep you in Suspense. 01:25.920 --> 01:33.360 Ashes to ashes and dust to dust. 01:33.360 --> 01:38.280 Meadowvale Cemetery, not far from New York. 01:38.280 --> 01:45.640 Meadowvale Cemetery, on a dim gray morning in early April when rain forms a mist across 01:45.640 --> 01:48.560 leafless trees and white gravestones. 01:48.560 --> 01:55.760 You see over there the group of silk-hatted gentlemen, each with his protecting umbrella, 01:55.760 --> 01:57.800 gathered around an open grave. 01:57.800 --> 02:01.440 You see the clay soil freshly dug. 02:01.440 --> 02:08.360 You can hear perhaps the creaking of the porch as the coffin is lowered into its everlasting 02:08.360 --> 02:12.840 house, and the droning voice of the surgeon. 02:12.840 --> 02:18.520 I am the resurrection and the life, best of lords. 02:18.520 --> 02:24.480 He that believeth on me, though he were dead, yet shall he live. 02:24.480 --> 02:25.480 Live? 02:25.480 --> 02:26.480 Quiet, Mr. Templeton, please. 02:26.480 --> 02:27.480 What's wrong with old Templeton? 02:27.480 --> 02:28.480 Please, sir, remember where you are. 02:28.480 --> 02:29.480 She's not alive, I tell you. 02:29.480 --> 02:30.480 She's not alive. 02:30.480 --> 02:49.600 It might seem a long distance, that, from the Cosmopolite club in Gramercy Park on the 02:49.600 --> 02:55.560 following evening, when that same well-fed man, as hard and unemotional as a diamond 02:55.560 --> 02:59.600 pin in his tie, hurries up a step into the club, then. 02:59.600 --> 03:00.600 What a farce. 03:00.600 --> 03:01.600 Yes, Mr. Templeton? 03:01.600 --> 03:04.600 Tell me, is Mr. Wilmot in the club, do you know? 03:04.600 --> 03:05.600 Yes, sir. 03:05.600 --> 03:06.600 Don't you see him? 03:06.600 --> 03:07.600 See him where? 03:07.600 --> 03:08.600 In the lounge over there, sir, sitting by the fire. 03:08.600 --> 03:09.600 Yes, yes, of course, sir. 03:09.600 --> 03:10.600 I'm a little upset. 03:10.600 --> 03:11.600 You're a good fellow, Henry. 03:11.600 --> 03:12.600 I won't forget you. 03:12.600 --> 03:13.600 Thank you, sir. 03:13.600 --> 03:17.320 Excuse me, sir, but aren't you going to take off your hat and overcoat? 03:17.320 --> 03:18.320 Never mind my hat and coat. 03:18.320 --> 03:20.280 Just tell me one other thing. 03:20.280 --> 03:23.800 When I came into the club, was there anybody following me? 03:23.800 --> 03:24.800 Following you, Mr. Templeton? 03:24.800 --> 03:25.800 Yes, a woman. 03:25.800 --> 03:29.160 A woman with a long skirt and a heavy black veil. 03:29.160 --> 03:33.000 But aren't many women who wear that kind of dress nowadays, sir? 03:33.000 --> 03:34.600 Look out into the street. 03:34.600 --> 03:37.600 Do you see anybody? 03:37.600 --> 03:39.600 No, sir. 03:39.600 --> 03:40.600 There's just... 03:40.600 --> 03:41.600 What's that? 03:41.600 --> 03:42.600 Oh, that's only the old street musician, sir. 03:42.600 --> 03:43.600 He doesn't mean any harm. 03:43.600 --> 03:44.600 I won't have that tune played, you hear? 03:44.600 --> 03:45.600 I'm used to getting my orders abated, and I'm going to have this one abated. 03:45.600 --> 03:46.600 Here's some money. 03:46.600 --> 03:47.600 Go out and tell him to go away. 03:47.600 --> 03:48.600 Yes, sir, if you insist, but... 03:48.600 --> 03:49.600 Do as you're told and don't ask questions. 03:49.600 --> 03:50.600 Anybody else want to talk? 03:50.600 --> 03:51.600 I'm going to go. 03:51.600 --> 03:52.600 I'm going to go. 03:52.600 --> 03:53.600 I'm going to go. 03:53.600 --> 03:54.600 I'm going to go. 03:54.600 --> 03:55.600 I'm going to go. 03:55.600 --> 03:56.600 I'm going to go. 03:56.600 --> 03:57.600 I'm going to go. 03:57.600 --> 03:59.240 I'm going to go. 03:59.240 --> 04:00.240 Anybody wants me? 04:00.240 --> 04:02.000 I shall be with Mr. Wilmot. 04:02.000 --> 04:09.000 Very good, sir. 04:09.000 --> 04:16.000 Good evening, Wilmot. 04:16.000 --> 04:19.080 Mind if I sit down for a minute? 04:19.080 --> 04:20.080 Not at all. 04:20.080 --> 04:21.080 Pull up a chair. 04:21.080 --> 04:22.080 Want some coffee? 04:22.080 --> 04:23.080 No, thanks. 04:23.080 --> 04:25.680 I'll get down to brass tacks right away. 04:25.680 --> 04:27.200 Yes, you always do. 04:27.200 --> 04:28.200 I've noticed that. 04:28.200 --> 04:31.400 Well, I'm a pretty self-sufficient kind of a fellow, Wilmot. 04:31.400 --> 04:34.720 I made a name for myself, even if I do say it myself. 04:34.720 --> 04:37.720 But well, the fact is, I need advice. 04:37.720 --> 04:42.280 A successful publisher asking advice from one of his own authors. 04:42.280 --> 04:43.280 That's something new, isn't it? 04:43.280 --> 04:44.280 Now look here, Wilmot, I'm serious. 04:44.280 --> 04:45.280 All right, all right, I take it back. 04:45.280 --> 04:46.280 What's on your mind? 04:46.280 --> 04:52.360 Well, you've studied what we'll call the supernatural, haven't you? 04:52.360 --> 04:55.000 I've lectured and written books about it, yes. 04:55.000 --> 04:57.440 And did you ever meet a ghost? 04:57.440 --> 05:00.800 No, I can't say I ever did. 05:00.800 --> 05:01.800 Have you? 05:01.800 --> 05:04.800 It might only be my own imagination. 05:04.800 --> 05:07.800 Yes, that's what scares me. 05:07.800 --> 05:11.720 You get on in years, and your artery's hardened, and you don't take enough exercise, and you 05:11.720 --> 05:14.720 think something ought to be done about your waistline, but you never bother. 05:14.720 --> 05:18.440 You see, Wilmot, I went to a funeral yesterday. 05:18.440 --> 05:19.440 You did? 05:19.440 --> 05:20.440 Whose funeral was it? 05:20.440 --> 05:22.800 The person who died has nothing to do with this. 05:22.800 --> 05:25.560 It was old Simpson of Harley & Sons. 05:25.560 --> 05:28.600 We thought it was only decent to make up a party and go to the funeral. 05:28.600 --> 05:31.800 I took my secretary along, a girl named Molly Carroll. 05:31.800 --> 05:35.960 I'm leaving for Washington tomorrow, besides I'm moving house, so there was a lot of work 05:35.960 --> 05:36.960 to do. 05:36.960 --> 05:42.040 Where I couldn't stand was that infernal cemetery in the rain. 05:42.040 --> 05:49.200 We must have gone in by the wrong gate, because we were in a neglected, desolate part of the 05:49.200 --> 05:56.200 cemetery where the rank grass grew over the grave. 05:56.200 --> 06:06.280 You'll oblige me, Miss Carroll, if you first find out the proper directions of our places. 06:06.280 --> 06:08.200 We've come in the wrong gate of the cemetery. 06:08.200 --> 06:10.200 Well, I'm sorry, Mr. Templeton, I thought that this... 06:10.200 --> 06:12.200 What you thought doesn't matter now. 06:12.200 --> 06:14.200 This is the wrong part of the cemetery. 06:14.200 --> 06:17.200 My shoes are absolutely ruined with wet clay. 06:17.200 --> 06:20.200 Well, it isn't doing my own choosing stockings any good either, Mr. Templeton. 06:20.200 --> 06:23.200 If there's been any damage to them, Miss Carroll, I'll replace them. 06:23.200 --> 06:26.200 You never found me ungenerous, now have you? 06:26.200 --> 06:28.200 Well, not exactly ungenerous, no. 06:28.200 --> 06:32.200 I'll pay you the compliment, Miss Carroll, saying that you are the best secretary I ever 06:32.200 --> 06:33.200 had. 06:33.200 --> 06:34.200 Thank you. 06:34.200 --> 06:35.200 Yet you want to leave me. 06:35.200 --> 06:38.200 Yes, I want to get married. 06:38.200 --> 06:40.200 That's what Mr. Barnes is telling me. 06:40.200 --> 06:42.200 And who is this caravan of yours? 06:42.200 --> 06:43.200 What does he do? 06:43.200 --> 06:44.200 Does he make any money? 06:44.200 --> 06:46.200 Well, Frank's a radio technician. 06:46.200 --> 06:48.200 He's not very wealthy, I'll admit. 06:48.200 --> 06:49.200 Wealthy? 06:49.200 --> 06:50.200 A radio technician? 06:50.200 --> 06:53.200 I'll bet he doesn't make as much as I pay you. 06:53.200 --> 06:55.200 Yet you want to get married. 06:55.200 --> 06:57.200 Well, is there anything very strange about that? 06:57.200 --> 07:01.200 Yes, if it interferes with your career, if it... 07:01.200 --> 07:03.200 Good Lord. 07:03.200 --> 07:04.200 Look at that. 07:04.200 --> 07:06.200 Look at what, Mr. Templeton? 07:06.200 --> 07:08.200 Over there, where I'm pointing. 07:08.200 --> 07:10.200 You mean that? 07:10.200 --> 07:13.200 That's only an old gravestone covered with weeds and brambles. 07:13.200 --> 07:15.200 I haven't seen that grave in years. 07:15.200 --> 07:17.200 It looks rather neglected. 07:17.200 --> 07:19.200 It is neglected, isn't it? 07:19.200 --> 07:21.200 Will you go closer, please, and read the inscription? 07:21.200 --> 07:23.200 Mr. Templeton. 07:23.200 --> 07:24.200 Do as I tell you, please. 07:24.200 --> 07:26.200 It says... 07:26.200 --> 07:29.200 Let's see if I can get some of these weeds aside. 07:29.200 --> 07:31.200 It says, 07:31.200 --> 07:35.200 SACRED TO THE MEMORY OF MARY ELLEN CLEAVER, 07:35.200 --> 07:39.200 BORN SEPTEMBER 5, 1892, 07:39.200 --> 07:45.200 DEPARTED THIS LIFE, MARCH 25, 1919. 07:45.200 --> 07:49.200 Thou should still be adored as this moment thou art, 07:49.200 --> 07:53.200 Lest thy loveliness fade as it will. 07:53.200 --> 07:56.200 If you lower that umbrella, Mr. Templeton, you'll get soaking wet. 07:56.200 --> 07:58.200 Tentamental crash. 07:58.200 --> 08:00.200 But she always liked it. 08:00.200 --> 08:01.200 She always liked it? 08:01.200 --> 08:03.200 Mary Ellen Cleaver. 08:03.200 --> 08:04.200 Did you know her? 08:04.200 --> 08:06.200 Very well indeed. She was my wife. 08:06.200 --> 08:08.200 Your wife? 08:08.200 --> 08:10.200 But I never knew you were married. 08:10.200 --> 08:12.200 Neither did anybody else. 08:12.200 --> 08:14.200 Where's my flask of brandy? 08:14.200 --> 08:15.200 What have I done with it? 08:15.200 --> 08:18.200 It's in your hip pocket, Mr. Templeton, but do you think that's very wise? 08:18.200 --> 08:20.200 You've already had more than enough. 08:20.200 --> 08:22.200 Whatever I do is wise, Miss Carroll. 08:22.200 --> 08:24.200 We were married very young. 08:24.200 --> 08:26.200 She was a nice little thing. 08:26.200 --> 08:28.200 I was fond of her, yes. 08:28.200 --> 08:30.200 But she couldn't have helped me. 08:30.200 --> 08:32.200 I'm not a snob, but she wasn't in my class. 08:32.200 --> 08:34.200 No style, you know. No manners. 08:34.200 --> 08:35.200 No education. 08:35.200 --> 08:36.200 Indeed. 08:36.200 --> 08:38.200 Could I have been reduced to the friends I was making? 08:38.200 --> 08:39.200 No. 08:39.200 --> 08:41.200 Wouldn't have been kind to her. 08:41.200 --> 08:44.200 She didn't even want to go to the places where I was invited. 08:44.200 --> 08:46.200 She'd sit at home and say, 08:46.200 --> 08:48.200 What was it like? Did you have a nice time? 08:48.200 --> 08:50.200 What was Mrs. So-and-so wearing? 08:50.200 --> 08:52.200 And she loved me. 08:52.200 --> 08:54.200 I'll put that to her credit. 08:54.200 --> 08:55.200 But... 08:55.200 --> 08:56.200 You left her? 08:56.200 --> 08:58.200 I thought it was the kindest thing to do, yes. 08:58.200 --> 09:00.200 She went away. 09:00.200 --> 09:02.200 Then I heard she'd had... 09:02.200 --> 09:03.200 Had what? 09:03.200 --> 09:05.200 Nothing. Doesn't matter. 09:05.200 --> 09:07.200 Well, there was a war on. 09:07.200 --> 09:09.200 I attended the peace conference in Europe. 09:09.200 --> 09:12.200 Never even knew she was dead until I heard some friends had buried her. 09:12.200 --> 09:14.200 I always promised to call her up. 09:14.200 --> 09:17.200 She said she'd come back to me if I did. 09:17.200 --> 09:21.200 You couldn't call her up now, Mr. Templeton, even if you wanted to. 09:21.200 --> 09:23.200 No, I suppose not. 09:23.200 --> 09:25.200 But I was fond of her. 09:25.200 --> 09:27.200 I wished there was something I could do. 09:27.200 --> 09:29.200 You could have her grave cared for. 09:29.200 --> 09:31.200 Have some flowers put on it. 09:31.200 --> 09:33.200 That's it. That's an idea. 09:33.200 --> 09:35.200 She'd have liked that. 09:35.200 --> 09:37.200 Can you take care of that for me? 09:37.200 --> 09:39.200 I'll look after it tomorrow morning, Mr. Templeton. 09:39.200 --> 09:41.200 But how will they ever be able to locate the grave? 09:41.200 --> 09:43.200 There must be thousands in this cemetery. 09:43.200 --> 09:45.200 Well, each grave has a number, you know. 09:45.200 --> 09:47.200 Cut into the stone so you can identify it. 09:47.200 --> 09:51.200 This is number 1212. 09:51.200 --> 09:53.200 1212. 09:53.200 --> 09:55.200 Sounds like a telephone number, doesn't it? 09:55.200 --> 09:57.200 Yes, doesn't it? 09:57.200 --> 09:59.200 Melothaeo 1212. 09:59.200 --> 10:01.200 Poor girl. I was fond of her. 10:01.200 --> 10:03.200 Please, Mr. Templeton, come along. 10:03.200 --> 10:05.200 And please, no more, Brandy. 10:05.200 --> 10:07.200 You've got a funeral to attend. 10:19.200 --> 10:23.200 And then, Wilmot, the night came. 10:23.200 --> 10:25.200 And the horror. What horror? 10:25.200 --> 10:27.200 Take it easy, man. 10:27.200 --> 10:29.200 There's nothing to worry about. 10:29.200 --> 10:31.200 You were sitting here in the Cosmopolites Club. 10:31.200 --> 10:33.200 Yes, but I wasn't sitting in the club last night. 10:33.200 --> 10:35.200 I was on my way home. 10:35.200 --> 10:37.200 And why should that scare you? 10:37.200 --> 10:39.200 I don't know, but it did. 10:39.200 --> 10:41.200 I'd been jumping all day. 10:41.200 --> 10:43.200 That infernal number kept running through my head. 10:43.200 --> 10:45.200 Melothaeo 1212. 10:45.200 --> 10:47.200 Have you ever seen my house? 10:47.200 --> 10:51.200 Yes, it's that big sham Gothic place on Riverside Drive, isn't it? 10:51.200 --> 10:55.200 Yes, big and dark and drafty like a mausoleum. 10:55.200 --> 10:57.200 I told you I was moving house to an apartment downtown. 10:57.200 --> 10:59.200 But there were some papers there. 10:59.200 --> 11:03.200 I had to get out of the safe in the library to take with me to washing tomorrow. 11:03.200 --> 11:05.200 I knew the servants would be gone, of course. 11:05.200 --> 11:11.200 But I hoped Mrs. Bloom, that's my housekeeper, would still be there. 11:11.200 --> 11:17.200 Then, when I went up the park, about 6.30... 11:17.200 --> 11:27.200 Melothaeo 1212. 11:27.200 --> 11:31.200 Melothaeo 1212. 11:31.200 --> 11:33.200 Melothaeo 1212. 11:39.200 --> 11:43.200 Mr. Templeton, this is a surprise. 11:43.200 --> 11:45.200 Sorry to trouble you, Mrs. Bloom. 11:45.200 --> 11:47.200 I think you mislaid my key. 11:47.200 --> 11:49.200 The other day I got a swan I had it on my key ring this morning. 11:49.200 --> 11:51.200 It's no trouble, Mr. Templeton. 11:51.200 --> 11:55.200 Only, I hope you're not planning to spend the night here. 11:55.200 --> 11:57.200 No, I'm going to a hotel. 11:57.200 --> 11:59.200 Why do you ask? 11:59.200 --> 12:03.200 Because they've disconnected everything except the electricity and taken away most of the furniture. 12:03.200 --> 12:05.200 They haven't touched anything in the library. 12:05.200 --> 12:07.200 No, sir. I told them you said to leave that. 12:07.200 --> 12:10.200 But it does seem a pity in a way. 12:10.200 --> 12:12.200 What seems a pity? 12:12.200 --> 12:15.200 I can't make up a lovely home like this after all these years. 12:15.200 --> 12:18.200 Home? This big, ugly picture gallery? 12:18.200 --> 12:20.200 It's been a home to me, sir. 12:20.200 --> 12:22.200 I've treated you generously, haven't I? 12:22.200 --> 12:24.200 Yes, sir. I'm sorry. 12:24.200 --> 12:26.200 I've got several hours' work to do, Mrs. Bloom. 12:26.200 --> 12:28.200 The whole safe's full of papers to sort over. 12:28.200 --> 12:30.200 I'm going to the library and... 12:30.200 --> 12:32.200 What's that you're hiding behind your back? 12:32.200 --> 12:34.200 I'm not hiding anything, sir. 12:34.200 --> 12:36.200 All the same, what is it? 12:36.200 --> 12:38.200 It's only a music box, sir. 12:38.200 --> 12:40.200 I found it in the attic when the moving men were here. 12:40.200 --> 12:42.200 If I hadn't known there were... 12:42.200 --> 12:44.200 well, no ladies in your life, 12:44.200 --> 12:46.200 I'd have said it belonged to one of them. 12:46.200 --> 12:48.200 I love to hear them, sir. 12:48.200 --> 12:50.200 May I? 12:50.200 --> 12:52.200 Mrs. Bloom! Yes, sir. 12:52.200 --> 12:54.200 If you don't want me to smash that music box, turn it off! 12:54.200 --> 12:56.200 Yes, sir. I'm sure I'd never... 12:56.200 --> 12:58.200 I'm going to the library. 12:58.200 --> 13:00.200 If you can find any sandwiches and coffee, bring them. 13:00.200 --> 13:02.200 Yes, sir. 13:02.200 --> 13:04.200 Excuse me. 13:04.200 --> 13:06.200 Same old library. 13:06.200 --> 13:08.200 Same old claw-footed desk. 13:08.200 --> 13:10.200 There's the Venetian mirror she bought for you. 13:10.200 --> 13:12.200 Look at yourself in the mirror, Templeton. 13:12.200 --> 13:14.200 Admit you can't face it. 13:14.200 --> 13:16.200 Admit you can't work here tonight. 13:16.200 --> 13:18.200 Admit you've got to have lights and music and... 13:18.200 --> 13:20.200 That's it. Go out for dinner. 13:20.200 --> 13:22.200 Telephone Wilmot. 13:22.200 --> 13:24.200 They've left the phone. 13:24.200 --> 13:26.200 Oh, yes, good. Here it is. 13:26.200 --> 13:28.200 I'm going to the library. 13:28.200 --> 13:30.200 I'm going to the library. 13:30.200 --> 13:32.200 I'm going to the library. 13:32.200 --> 13:34.200 Oh, yes, good. Here it is. 13:34.200 --> 13:36.200 Hello? Hello? 13:36.200 --> 13:38.200 Yes, sir. Number, please. 13:38.200 --> 13:40.200 I, uh... 13:40.200 --> 13:42.200 Number, please. 13:42.200 --> 13:44.200 I want, uh... 13:44.200 --> 13:46.200 Meadowvale 1212. 13:46.200 --> 13:48.200 Meadowvale 1212. 13:48.200 --> 13:50.200 Wait, what the devil's name am I saying? 13:50.200 --> 13:52.200 Change that, I want... 13:52.200 --> 13:54.200 Hello, my darling. I knew you'd call me when you needed me. 13:54.200 --> 13:56.200 Who is that speaking? Who are you? 13:56.200 --> 13:58.200 It's Mary Ellen, dear. 13:58.200 --> 14:00.200 Don't you recognize my voice? 14:00.200 --> 14:02.200 No, you're not Mary Ellen. 14:02.200 --> 14:04.200 This is sick. Mary Ellen is dead. 14:04.200 --> 14:06.200 Yes, it is. But the dead sleep lightly. 14:06.200 --> 14:08.200 And they can be lonely, too. 14:08.200 --> 14:10.200 And now that you do need me... 14:10.200 --> 14:12.200 I don't need you. I don't need anybody. 14:12.200 --> 14:14.200 I'm coming back to join you, dear. 14:14.200 --> 14:16.200 It's not easy, but... 14:16.200 --> 14:18.200 I'll be there by the time the clock strikes seven. 14:18.200 --> 14:20.200 I'll wear a veil, because I don't look very pretty. 14:20.200 --> 14:22.200 I won't have this. I won't listen to you. 14:22.200 --> 14:24.200 I won't... 14:24.200 --> 14:26.200 Goodbye, my dear. 14:26.200 --> 14:28.200 Remember, when the clock strikes seven, 14:28.200 --> 14:30.200 when the clock strikes seven... 14:30.200 --> 14:32.200 Mrs. Bloom, Mrs. Bloom! 14:34.200 --> 14:36.200 Mr. Templeton, what on earth is the matter? 14:36.200 --> 14:38.200 Who's been playing tricks on me? 14:38.200 --> 14:40.200 Tricks, sir. I don't understand. 14:40.200 --> 14:42.200 Who spoke to me on this phone? 14:42.200 --> 14:44.200 But, sir, nobody could have spoken to you on that phone. 14:44.200 --> 14:46.200 Nobody could have? What are you talking about? 14:46.200 --> 14:48.200 That phone's disconnected, sir. 14:48.200 --> 14:50.200 Disconnected? Yes, sir. 14:50.200 --> 14:52.200 The man came here this afternoon and took that little mother box off the wall 14:52.200 --> 14:54.200 and rolled all the wires up 14:54.200 --> 14:56.200 and put everything on the desk there. 14:56.200 --> 14:58.200 Said he'd be back tomorrow to take it away. 14:58.200 --> 15:00.200 Mrs. Bloom, that's impossible. 15:00.200 --> 15:02.200 Look for yourself, sir. 15:02.200 --> 15:04.200 You're standing in the middle of the room holding that phone 15:04.200 --> 15:06.200 and the wires don't lead anywhere. 15:06.200 --> 15:08.200 Sir, that's true. 15:08.200 --> 15:10.200 So you couldn't very well have talked to anybody 15:10.200 --> 15:12.200 on the phone that wasn't connected? 15:12.200 --> 15:14.200 Now could you? I tell you, I got the operator. 15:14.200 --> 15:16.200 I heard it ring. I talked to... 15:16.200 --> 15:18.200 to someone else. 15:18.200 --> 15:20.200 Oh? And what did that person say? 15:20.200 --> 15:22.200 She said 15:22.200 --> 15:24.200 she'd be here to visit me 15:24.200 --> 15:26.200 when... 15:36.200 --> 15:38.200 Mr. Templeton wants the map. 15:38.200 --> 15:40.200 The phone is disconnected. 15:40.200 --> 15:42.200 The phone is disconnected. 15:42.200 --> 15:44.200 The phone is disconnected. 15:44.200 --> 15:46.200 The phone is disconnected. 15:46.200 --> 15:48.200 And so, Wilmot, 15:48.200 --> 15:50.200 that's what happened last night. 15:50.200 --> 15:52.200 The phone was disconnected. It was Mary Ellen's voice. 15:52.200 --> 15:54.200 There's no doubt about that. 15:54.200 --> 15:56.200 Am I out of my mind or what? 15:56.200 --> 15:58.200 Before I say anything about that, my friend... 15:58.200 --> 16:00.200 Well? 16:00.200 --> 16:02.200 Let's hear the end of your story. 16:02.200 --> 16:04.200 What did happen when the clock struck seven? 16:04.200 --> 16:06.200 I don't know. 16:06.200 --> 16:08.200 You don't know? No, I lost my head. 16:08.200 --> 16:10.200 Ran out of that house as though the devil were after me. 16:10.200 --> 16:12.200 Maybe he was. 16:12.200 --> 16:14.200 And since then? I spent the night at the hotel. 16:14.200 --> 16:16.200 Today, I've walked past that house 16:16.200 --> 16:18.200 fifty times, a hundred times, 16:18.200 --> 16:20.200 trying to muster up enough nerve 16:20.200 --> 16:22.200 to go in. 16:22.200 --> 16:24.200 I couldn't do it, but I've got to go in there. 16:24.200 --> 16:26.200 Why? 16:26.200 --> 16:28.200 It's those papers I've got to take to Washington. 16:28.200 --> 16:30.200 Send somebody else to get them. 16:30.200 --> 16:32.200 I can't do that, Wilmot. It's confidential information 16:32.200 --> 16:34.200 for the government. 16:34.200 --> 16:36.200 I've thought of everything. 16:36.200 --> 16:38.200 I've even bought a revolver, see? 16:38.200 --> 16:40.200 For the love of heaven, man, put that gun away. 16:40.200 --> 16:42.200 You want the other club members to think you have gone insane? 16:42.200 --> 16:44.200 Then I thought of you. 16:44.200 --> 16:46.200 You know all the tricks of fake spiritualists. 16:46.200 --> 16:48.200 You've written about it, lectured about it. 16:48.200 --> 16:50.200 Which reminds me, by the way, 16:50.200 --> 16:52.200 that I'm lecturing before the Acropolis Club 16:52.200 --> 16:54.200 in about twenty minutes. You've got to break that engagement, Wilmot. 16:54.200 --> 16:56.200 Why? 16:56.200 --> 16:58.200 Because you're going with me to my house, tonight, now. 16:58.200 --> 17:00.200 That's impossible, old man. Now sit quietly and listen to me. 17:00.200 --> 17:02.200 I'll go with you willingly, tomorrow morning. 17:02.200 --> 17:04.200 That's too late. I'm taking an early play to Washington. 17:04.200 --> 17:06.200 Well, then, wait until I can get away from the lecture. 17:06.200 --> 17:08.200 Say, uh, around midnight. 17:08.200 --> 17:10.200 I'll tell you what I'll do. 17:10.200 --> 17:12.200 I'll take a taxi and join you as soon as I can. 17:12.200 --> 17:14.200 That won't do. 17:14.200 --> 17:16.200 I've got to know. 17:16.200 --> 17:18.200 I've got to know the answer now. Do you understand? 17:18.200 --> 17:20.200 Aren't you being a little unreasonable about this? 17:20.200 --> 17:22.200 Unreasonable or not, I usually get my own way, and I need to have it now. 17:22.200 --> 17:24.200 Well, then, I'm afraid you'll have to go to the house alone. 17:24.200 --> 17:26.200 Besides, you know, Wilmot, 17:26.200 --> 17:28.200 you worry me. 17:28.200 --> 17:30.200 You sit there puffing at that pipe 17:30.200 --> 17:32.200 and looking at me out of those queer eyes of yours 17:32.200 --> 17:34.200 like a young Satan. 17:34.200 --> 17:36.200 I've often wondered 17:36.200 --> 17:38.200 what you were really thinking about. 17:38.200 --> 17:40.200 Since you flatter my intelligence so much, 17:40.200 --> 17:42.200 I was wondering 17:42.200 --> 17:44.200 whether you'd been quite frank with me. 17:44.200 --> 17:46.200 How? 17:46.200 --> 17:48.200 About your late wife, Mary Ellen Kleber. 17:48.200 --> 17:50.200 What about her? 17:50.200 --> 17:52.200 Well, after she left you, 17:52.200 --> 17:54.200 something happened that, uh, 17:54.200 --> 17:56.200 you don't like to talk about. 17:56.200 --> 17:58.200 Was there by any chance, uh, a child, 17:58.200 --> 18:00.200 a son, for instance, or... 18:00.200 --> 18:02.200 Did you say a son? 18:02.200 --> 18:04.200 Yes. I don't know what you're talking about. 18:04.200 --> 18:06.200 Well, then, let's agree 18:06.200 --> 18:08.200 not to understand each other, shall we? 18:08.200 --> 18:10.200 Now, are you coming with me or aren't you? 18:10.200 --> 18:12.200 I tell you, man, I'll get there as soon as I can. 18:12.200 --> 18:14.200 All I can think about 18:14.200 --> 18:16.200 is the wet red clay in that cemetery 18:16.200 --> 18:18.200 and the dismal grave 18:18.200 --> 18:20.200 and the rain 18:20.200 --> 18:22.200 and what her face might look like 18:22.200 --> 18:24.200 if she raised the veil 18:24.200 --> 18:26.200 and... 18:26.200 --> 18:28.200 What am I going to see in that house? 18:28.200 --> 18:42.200 What am I going to see in that house? 18:42.200 --> 18:44.200 Though the clocks chime, 18:44.200 --> 18:46.200 the hours dwindle, 18:46.200 --> 18:48.200 and the traffic roar of the city 18:48.200 --> 18:50.200 sinks to a low growl behind twinkling lights, 18:50.200 --> 18:52.200 it is midnight. 18:52.200 --> 18:54.200 When a taxi moves along a certain street 18:54.200 --> 18:56.200 towards a certain house 18:56.200 --> 18:58.200 out of a bygone age, 18:58.200 --> 19:00.200 lightless, black against the stars, 19:00.200 --> 19:02.200 surrounded by iron railings 19:02.200 --> 19:04.200 and with a path bordered by fir trees 19:04.200 --> 19:06.200 leading to the front door, 19:06.200 --> 19:08.200 look, too, with the face of Mr. Patrick Wilmot 19:08.200 --> 19:10.200 when that taxi draws near. 19:10.200 --> 19:12.200 when that taxi draws near. 19:12.200 --> 19:14.200 When that taxi draws near. 19:14.200 --> 19:16.200 All right, driver, 19:16.200 --> 19:18.200 this is the place. 19:18.200 --> 19:26.200 I'll be in a way, sir. 19:26.200 --> 19:28.200 No, you needn't wait. 19:28.200 --> 19:30.200 Keep the change. 19:30.200 --> 19:32.200 Thank you, sir. Good night. 19:32.200 --> 19:34.200 So the front gate is open. 19:34.200 --> 19:36.200 And he did go in. 19:36.200 --> 19:38.200 I beg your pardon. 19:38.200 --> 19:40.200 I didn't mean to bump into you. 19:40.200 --> 19:42.200 I'm sorry. 19:42.200 --> 19:44.200 I'm sorry. 19:44.200 --> 19:46.200 I'm sorry. 19:46.200 --> 19:48.200 I'm sorry. 19:48.200 --> 19:50.200 I'm sorry. 19:50.200 --> 19:52.200 Sir Wilmot. 19:52.200 --> 19:54.200 Wilmot. 19:54.200 --> 19:56.200 Yes, please. 19:56.200 --> 19:58.200 Mr. Wilmot. 19:58.200 --> 20:00.200 My name is so great to see you. 20:00.200 --> 20:02.200 And a good friend. 20:02.200 --> 20:04.200 I'm sorry. 20:04.200 --> 20:06.200 Mr. Wilmot, 20:06.200 --> 20:08.200 I'm sorry. 20:08.200 --> 20:10.200 I'm sorry. 20:10.200 --> 20:12.200 What are you doing here? 20:12.200 --> 20:14.200 What are you doing here? 20:14.200 --> 20:16.400 to go with him to this house. 20:16.400 --> 20:19.160 Evidently, I wasn't the only person he applied to. 20:20.120 --> 20:21.720 Shall we go in? 20:21.720 --> 20:23.800 Yes, but the whole house is dark. 20:23.800 --> 20:24.760 Suppose he isn't there. 20:24.760 --> 20:26.600 He's there, all right. 20:26.600 --> 20:28.440 You don't know men like Bert Templeton. 20:28.440 --> 20:29.560 But I... 20:29.560 --> 20:30.960 I'll push the gate wider. 20:34.080 --> 20:36.400 Now, straight up the walk to the front door. 20:37.360 --> 20:38.680 I've got a flashlight. 20:38.680 --> 20:40.560 What are we going to find? 20:40.560 --> 20:42.800 Something rather unpleasant, I'd better warn you. 20:42.800 --> 20:44.480 How do you know? 20:44.480 --> 20:46.880 I have my ways of knowing, Miss Carroll. 20:46.880 --> 20:47.800 Oh, look. 20:47.800 --> 20:48.760 What is it? 20:48.760 --> 20:51.320 That French window to the left of the front door. 20:51.320 --> 20:52.160 Yeah. 20:52.160 --> 20:53.960 It's partly open. 20:53.960 --> 20:56.640 Well, there's nothing in that, necessarily. 20:56.640 --> 20:58.040 Templeton said he'd lost his key. 20:58.040 --> 20:59.320 He might have had to open a window. 20:59.320 --> 21:01.680 That's true, but... 21:01.680 --> 21:03.200 So you see it too, do you? 21:03.200 --> 21:04.880 See what? 21:04.880 --> 21:07.480 There's a footprint across the sill of that French window. 21:07.480 --> 21:10.600 A footprint made in wet clay. 21:10.600 --> 21:13.840 Like...like the clay of the cemetery. 21:13.840 --> 21:15.960 So I should imagine. 21:15.960 --> 21:17.520 Will you go in first or shall I? 21:17.520 --> 21:19.600 Into that dark room, I will not. 21:19.600 --> 21:21.760 Well, then stay here, please, until I get some lights on. 21:21.760 --> 21:22.720 No, wait. 21:22.720 --> 21:23.800 I'll go. 21:23.800 --> 21:24.800 Let me take your arm. 21:24.800 --> 21:26.120 All right, be careful now. 21:28.840 --> 21:31.600 Hmm, I thought so. 21:31.600 --> 21:33.800 This room is the library. 21:33.800 --> 21:36.800 And there are more footprints of somebody 21:36.800 --> 21:38.960 or something walking in. 21:38.960 --> 21:40.960 They lead... 21:40.960 --> 21:42.960 Who's there? 21:42.960 --> 21:44.160 Who's there? 21:44.160 --> 21:47.200 It's only me, sir, Mrs. Bloom, the housekeeper. 21:47.200 --> 21:48.800 Then what's the idea of standing in a dark room 21:48.800 --> 21:50.640 in the middle of the night with what sounds like... 21:50.640 --> 21:52.640 It's only a music box, sir. 21:52.640 --> 21:54.960 I left it behind along with some other things 21:54.960 --> 21:56.720 and came back to get them. 21:56.720 --> 21:58.920 I've got my own key. 21:58.920 --> 22:00.560 I thought I heard a noise in here. 22:00.560 --> 22:01.760 But why aren't there any lights? 22:01.760 --> 22:03.800 The electricity's cut off, sir. 22:03.800 --> 22:06.080 It was cut off today. 22:06.080 --> 22:08.240 I see. 22:08.240 --> 22:11.200 Now, if Templeton is here or was here, 22:11.200 --> 22:14.360 he's not had some kind of light. 22:14.360 --> 22:16.440 If I turn this flashlight on the desk, maybe... 22:16.440 --> 22:17.200 Ah! 22:17.200 --> 22:18.360 Be quiet, Miss Carroll! 22:18.360 --> 22:19.240 What is it, sir? 22:19.240 --> 22:21.360 I'm as blind as a bat without my glasses. 22:21.360 --> 22:22.360 It's Mr. Templeton. 22:22.360 --> 22:23.760 He's lying on the floor beside the desk. 22:23.760 --> 22:25.120 Oh, he isn't... 22:25.120 --> 22:26.840 No, he isn't dead. 22:26.840 --> 22:28.080 His face is the color of putty. 22:28.080 --> 22:30.080 I think he's had some kind of stroke. 22:30.080 --> 22:31.240 We'd better not take any chances. 22:31.240 --> 22:32.040 Mrs. Bloom? 22:32.040 --> 22:32.920 Yes, sir? 22:32.920 --> 22:34.120 Get outside to the nearest telephone 22:34.120 --> 22:34.920 and call for an ambulance. 22:34.920 --> 22:36.240 Telements an emergency case. 22:36.240 --> 22:37.800 You're Mr. Wilmot, aren't you? 22:37.800 --> 22:40.200 But... but what's happened to him? 22:40.200 --> 22:41.600 Ask a dead woman. 22:41.600 --> 22:43.200 I beg your pardon. 22:43.200 --> 22:44.360 Never mind. Hurry! 22:44.360 --> 22:48.360 Of course I'll hurry, Mr. Wilmot. 22:48.360 --> 22:49.920 What are we going to do? 22:49.920 --> 22:52.280 Let's have a look around. 22:52.280 --> 22:54.560 Templeton seems to have been working at his papers 22:54.560 --> 22:56.560 by the light of a couple of candles, 22:56.560 --> 22:59.080 which somebody's blown out. 22:59.080 --> 23:02.280 We'll relight them. 23:02.280 --> 23:04.080 There's the desk. 23:04.080 --> 23:05.760 There's all the papers. 23:05.760 --> 23:06.400 Scattered round him. 23:06.400 --> 23:07.840 Mr. Wilmot, please! 23:07.840 --> 23:09.720 What happened to him? 23:09.720 --> 23:11.840 I'll tell you. 23:11.840 --> 23:14.280 As he sat there in the dim light of two candles, 23:14.280 --> 23:17.120 a ghostly figure appeared at that French window. 23:17.120 --> 23:19.040 It wore a long, old-fashioned skirt 23:19.040 --> 23:21.640 and a heavy black veil to hide the face. 23:21.640 --> 23:23.240 It walked toward Templeton, 23:23.240 --> 23:25.160 tracking graveyard clay. 23:25.160 --> 23:27.400 It stretched its arms to him like this. 23:27.400 --> 23:28.640 Keep away from me, please! 23:28.640 --> 23:29.680 Templeton couldn't stand it. 23:29.680 --> 23:32.160 He collapsed. 23:32.160 --> 23:35.040 And now, before the old housekeeper returns, 23:35.040 --> 23:36.680 did you care to hear how the whole trick was worth? 23:36.680 --> 23:37.480 Trick? 23:37.480 --> 23:38.840 What trick? 23:38.840 --> 23:40.240 Have you heard about the ghost voice 23:40.240 --> 23:42.000 that talked on a disconnected telephone? 23:42.000 --> 23:42.640 Oh, yes. 23:42.640 --> 23:44.440 Yes, he said something about it this morning, 23:44.440 --> 23:46.440 but I thought he wasn't himself. 23:46.440 --> 23:48.880 He wasn't, but he heard it. 23:48.880 --> 23:52.400 Remember Mrs. Bloom's story about the telephone man? 23:52.400 --> 23:53.960 Yes. 23:53.960 --> 23:56.440 They don't send a man round to yank the whole apparatus off 23:56.440 --> 23:58.000 the wall, put it on the desk, and say 23:58.000 --> 24:00.200 he'll be back for it next day. 24:00.200 --> 24:02.800 This man from the telephone company was an imposter. 24:02.800 --> 24:05.880 The man from the telephone company was an imposter? 24:05.880 --> 24:07.240 Exactly. 24:07.240 --> 24:09.240 Oh, look, he's moving his hand. 24:09.240 --> 24:11.120 He's trying to open his eyes. 24:11.120 --> 24:12.960 Isn't there anything we can do for him? 24:12.960 --> 24:15.400 No, there's nothing we can do until the doctor arrives. 24:15.400 --> 24:16.840 In the meantime, listen to me. 24:16.840 --> 24:17.920 All right. 24:17.920 --> 24:19.800 What did this imposter do? 24:19.800 --> 24:22.560 He took away the real phone and substituted a spirit 24:22.560 --> 24:23.640 telephone. 24:23.640 --> 24:25.680 You don't know what a spirit telephone is? 24:25.680 --> 24:27.240 No, of course not. 24:27.240 --> 24:30.200 It's an old device used by fake mediums. 24:30.200 --> 24:32.840 You see a telephone without wires standing on a desk, 24:32.840 --> 24:34.320 like that one. 24:34.320 --> 24:37.040 You pick up the receiver and talk to the dead. 24:37.040 --> 24:39.320 Of course, you never really talk into the phone at all. 24:39.320 --> 24:41.080 But if you don't talk into the phone, then? 24:41.080 --> 24:44.040 Sixth, underneath the desk is a tiny microphone 24:44.040 --> 24:47.320 with hidden wires leading to another room in the same house. 24:47.320 --> 24:49.000 That microphone picks up every word 24:49.000 --> 24:50.440 you think you were saying to the phone. 24:50.440 --> 24:51.600 Is that clear? 24:51.600 --> 24:53.200 I think so. 24:53.200 --> 24:55.360 Well, the dummy telephone is really a low power 24:55.360 --> 24:57.200 radio receiving set. 24:57.200 --> 24:59.160 Somebody in another room can talk back to you 24:59.160 --> 25:01.640 after hearing what you say on the wired microphone. 25:01.640 --> 25:02.800 Then Mr. Templeton? 25:02.800 --> 25:06.280 If Templeton hadn't rung meadow veil 1212, 25:06.280 --> 25:08.760 then rest assured that same number would have rung him. 25:08.760 --> 25:10.920 Well, then the scheme couldn't fail either way. 25:10.920 --> 25:13.720 But you see, there's one thing in this matter 25:13.720 --> 25:15.720 I haven't got quite clear even yet. 25:15.720 --> 25:16.960 And what's that? 25:16.960 --> 25:19.120 Tell me, Miss Carroll, just why did you work this whole trick? 25:19.120 --> 25:20.680 Why did you try to scare your father to death? 25:20.680 --> 25:21.480 My father? 25:21.480 --> 25:24.600 Templeton is your father, isn't he? 25:24.600 --> 25:28.760 That might be rather difficult to prove, Mr. Wilmoth. 25:28.760 --> 25:30.520 By George, I admire you. 25:30.520 --> 25:31.960 Thanks very much. 25:31.960 --> 25:32.880 I'm flattered. 25:32.880 --> 25:34.480 Expressionless as ever. 25:34.480 --> 25:39.160 Eyes as hard and cold and blue and handsome as, well, 25:39.160 --> 25:40.720 make your own comparisons. 25:40.720 --> 25:42.200 But I knew you were guilty, of course, 25:42.200 --> 25:43.840 when I heard your fiancee was a radio techie. 25:43.840 --> 25:45.240 You can leave Frank out of this. 25:45.240 --> 25:48.000 Oh, you have scruples. 25:48.000 --> 25:48.920 Have I touched you? 25:48.920 --> 25:52.200 Nothing can touch me, not since my mother died. 25:52.200 --> 25:54.320 Your fiancee installed a ghost mechanism 25:54.320 --> 25:55.240 and took it away today. 25:55.240 --> 25:56.680 He probably thought it was only a joke. 25:56.680 --> 25:57.080 He did. 25:57.080 --> 25:58.200 I swear he did. 25:58.200 --> 25:59.880 The rest of it was plain enough. 25:59.880 --> 26:01.840 Who led Templeton to the wrong gate in the cemetery 26:01.840 --> 26:02.880 past that woman's grave? 26:02.880 --> 26:03.760 You did. 26:03.760 --> 26:06.160 Who was the only one who could have stolen the key to this house 26:06.160 --> 26:07.560 off that key ring he took to the office? 26:07.560 --> 26:08.480 You were. 26:08.480 --> 26:10.400 You needed that key to come and go as you liked 26:10.400 --> 26:12.160 and impersonate the two voices on the phone. 26:12.160 --> 26:14.080 Is there any need to go on with this? 26:14.080 --> 26:16.400 He killed her, you know. 26:16.400 --> 26:18.640 What do you mean, Templeton killed your mother? 26:18.640 --> 26:21.720 Oh, not with a knife or a bullet or poison. 26:21.720 --> 26:24.160 All he did was break her heart. 26:24.160 --> 26:25.840 And that's no offense in law. 26:25.840 --> 26:26.680 Yeah, steady now. 26:26.680 --> 26:28.560 Well, I've done what I wanted to do. 26:28.560 --> 26:31.040 I've torn his whole rotten life to pieces. 26:31.040 --> 26:33.520 And there he is gasping for breath on the floor. 26:33.520 --> 26:34.640 And I'm glad. 26:34.640 --> 26:37.560 I'm glad I'm glad. 26:37.560 --> 26:39.280 Oh, God, forgive me. 26:39.280 --> 26:41.120 He is my father. 26:41.120 --> 26:42.240 Does he know you're his daughter? 26:42.240 --> 26:43.000 No. 26:43.000 --> 26:44.800 Oh, of course not. 26:44.800 --> 26:47.400 When I went to work for him as a secretary, 26:47.400 --> 26:49.840 he hadn't even seen me since I was a child. 26:49.840 --> 26:51.240 But I got near him. 26:51.240 --> 26:53.520 I worked for years to get near him. 26:53.520 --> 26:54.760 No. 26:54.760 --> 26:55.680 I wish I hadn't. 26:55.680 --> 26:57.720 Now, look here, you've got to pull yourself together. 26:57.720 --> 26:58.240 Why? 26:58.240 --> 27:00.000 Who cares? 27:00.000 --> 27:01.800 The ambulance coming and maybe the police. 27:01.800 --> 27:02.760 What do I care? 27:02.760 --> 27:04.240 Tell the police what you like. 27:04.240 --> 27:07.400 My dear girl, you don't think I will tell them anything. 27:07.400 --> 27:09.640 I'm merely an onlooker, an amateur 27:09.640 --> 27:13.320 Satan who doesn't believe in ghost voices. 27:13.320 --> 27:14.160 What's that? 27:14.160 --> 27:15.280 Templeton, his eyes are open. 27:15.280 --> 27:17.640 He's trying to get up. 27:17.640 --> 27:21.240 It's as though he could see something that we can't. 27:21.240 --> 27:22.760 What's that he's got in his hand? 27:22.760 --> 27:23.600 It's a revolver. 27:23.600 --> 27:24.480 He had one at the club. 27:24.480 --> 27:25.960 He's putting it against his chest. 27:25.960 --> 27:26.680 I'll stop him. 27:26.680 --> 27:27.080 Look out. 27:27.080 --> 27:27.560 Look out. 27:27.560 --> 27:30.320 Oh. 27:30.320 --> 27:33.160 He did love her after all. 27:33.160 --> 27:35.880 And now he's tried to join her. 27:35.880 --> 27:37.000 Oh, don't let him die. 27:37.000 --> 27:37.880 It's all right, Molly. 27:37.880 --> 27:39.360 You grabbed a gun just in time. 27:39.360 --> 27:42.640 If he doesn't die, I'll make it up to him. 27:42.640 --> 27:44.440 I swear I'll make it up to him. 27:44.440 --> 27:46.720 I tell you now, he's not going to die. 27:46.720 --> 27:47.600 But. 27:47.600 --> 27:48.600 Mary Ellen. 27:48.600 --> 27:49.960 Mary Ellen. 27:49.960 --> 27:50.920 Mary Ellen. 27:50.920 --> 27:51.960 But what? 27:51.960 --> 27:52.600 But what? 27:52.600 --> 27:53.120 Mary Ellen. 27:53.120 --> 27:58.320 I was just wondering, is there a ghost in this room tonight? 27:58.320 --> 28:24.920 And so closes The Dead Sleep Lightly, starring Walter Hemsden, 28:24.920 --> 28:27.760 Susan Hayward, and Lee Bowman. 28:27.760 --> 28:30.520 Tonight's tale of suspense. 28:34.960 --> 28:38.640 This is your narrator, the man in black, 28:38.640 --> 28:40.520 who conveys to you Columbia's invitation 28:40.520 --> 28:46.360 to spend this half hour in suspense with us again next Tuesday. 28:46.360 --> 28:50.200 As Hayward appeared through the courtesy of Paramount Pictures, 28:50.200 --> 28:52.320 and Mr. Bowman appeared through the courtesy of Metro 28:52.320 --> 28:55.640 Golden Mayor Studios. 28:55.640 --> 28:58.080 William Spear, the producer, John Deet, the director, 28:58.080 --> 29:00.360 Bernard Herman, the composer, conductor, 29:00.360 --> 29:27.640 and John Dixon Carr, the author, collaborated on tonight's suspense. 29:27.640 --> 29:31.040 This is the Columbia Broadcasting System.