1 00:00:00,000 --> 00:00:01,000 Suspense. 2 00:00:01,000 --> 00:00:23,040 This is the man in black here again to introduce Columbia's program, Suspense. 3 00:00:23,040 --> 00:00:28,880 In our starring Hollywood cast this evening is Mr. Peter Laurie, who appears as a mysterious 4 00:00:28,880 --> 00:00:31,920 gentleman called George Ravel. 5 00:00:31,920 --> 00:00:35,280 Miss Wendy Berry plays our worried heroin marjorie. 6 00:00:35,280 --> 00:00:39,480 Mr. George Zuko is the lawyer, Alex Stevens. 7 00:00:39,480 --> 00:00:45,120 The story called The Moment of Darkness is tonight's tale, our suspense. 8 00:00:45,120 --> 00:00:50,220 If you have been with us on these Tuesday nights, you will know that suspense is compounded 9 00:00:50,220 --> 00:00:54,720 of mystery and suspicion and dangerous adventure. 10 00:00:54,720 --> 00:00:58,520 In this series our tales calculated to intrigue you. 11 00:00:58,520 --> 00:01:04,840 To scare your nerves, to offer you a precarious situation and then withhold a solution until 12 00:01:04,840 --> 00:01:08,280 the last possible moment. 13 00:01:08,280 --> 00:01:13,560 And so with The Moment of Darkness and with the performances of Peter Laurie, Wendy Berry, 14 00:01:13,560 --> 00:01:32,200 George Zuko and our other players, we again hope to keep you in suspense. 15 00:01:32,200 --> 00:01:37,800 The Clan Bleu crack express train from Paris to the French Riviera, which in these carefree 16 00:01:37,800 --> 00:01:43,520 days before the war, used to make the journey from Paris to Nice overnight. 17 00:01:43,520 --> 00:01:48,120 At the Gare du Sud on this particular mild spring evening, the train with its glistening 18 00:01:48,120 --> 00:01:53,720 wagons lises or sleeping cars waits in a station filled with smoke and the iron coughing of 19 00:01:53,720 --> 00:01:54,920 engines. 20 00:01:54,920 --> 00:01:58,880 You can hear the excited crowd at the slamming of compartment doors. 21 00:01:58,880 --> 00:02:02,800 You can see the guard standing by with his watch in hand, with his horn ready to blow 22 00:02:02,800 --> 00:02:03,800 as a signal. 23 00:02:03,800 --> 00:02:04,800 En voiture, monsieur le voyageur. 24 00:02:04,800 --> 00:02:05,800 En voiture. 25 00:02:05,800 --> 00:02:06,800 En voiture. 26 00:02:06,800 --> 00:02:07,800 En voiture. 27 00:02:07,800 --> 00:02:08,800 En voiture. 28 00:02:08,800 --> 00:02:09,800 En voiture. 29 00:02:09,800 --> 00:02:10,800 En voiture. 30 00:02:10,800 --> 00:02:11,800 En voiture. 31 00:02:11,800 --> 00:02:12,800 En voiture. 32 00:02:12,800 --> 00:02:16,600 And now, the last moment just before the signal, a girl in a light summer dress carrying 33 00:02:16,600 --> 00:02:20,640 a small suitcase hurries along the platform towards car number 10. 34 00:02:20,640 --> 00:02:23,040 The girl is blonde and evidently English. 35 00:02:23,040 --> 00:02:24,600 And as she hurries towards the guard... 36 00:02:24,600 --> 00:02:25,600 En voiture. 37 00:02:25,600 --> 00:02:26,600 Dépêchez-vous, mademoiselle. 38 00:02:26,600 --> 00:02:27,600 Hurry up, please. 39 00:02:27,600 --> 00:02:28,600 Yes, yes, of course. 40 00:02:28,600 --> 00:02:29,600 Is this carriage number 10? 41 00:02:29,600 --> 00:02:30,600 Oui, mademoiselle, numéro 10. 42 00:02:30,600 --> 00:02:31,600 Hurry up, please. 43 00:02:31,600 --> 00:02:32,600 Thank you. 44 00:02:32,600 --> 00:02:33,600 I'll get in. 45 00:02:33,600 --> 00:02:34,600 Et maintenant... 46 00:02:34,600 --> 00:03:02,760 This corridor must be at least a mile long. 47 00:03:02,760 --> 00:03:05,920 Carre 10. 48 00:03:05,920 --> 00:03:08,120 Compartment number 6. 49 00:03:08,120 --> 00:03:09,120 Compartment number 6. 50 00:03:09,120 --> 00:03:10,120 Compartment... 51 00:03:10,120 --> 00:03:11,120 Here it is. 52 00:03:11,120 --> 00:03:12,120 Yes, come in. 53 00:03:12,120 --> 00:03:13,120 Mr. Stevens, I... 54 00:03:13,120 --> 00:03:14,120 Oh, I beg your pardon. 55 00:03:14,120 --> 00:03:15,120 That's quite all right. 56 00:03:15,120 --> 00:03:16,120 Won't you come in? 57 00:03:16,120 --> 00:03:17,120 I thought this was Mr. Stevens' compartment. 58 00:03:17,120 --> 00:03:18,120 It is his compartment. 59 00:03:18,120 --> 00:03:19,120 I'm sharing it with him. 60 00:03:19,120 --> 00:03:20,120 He is on the train, isn't he? 61 00:03:20,120 --> 00:03:21,120 Oh, yes, yes. 62 00:03:21,120 --> 00:03:22,120 He's gone to look for some luggage that failed to turn up. 63 00:03:22,120 --> 00:03:33,520 In the meantime, won't you come in and sit down? 64 00:03:33,520 --> 00:03:37,720 Thank you. 65 00:03:37,720 --> 00:03:42,040 As an old friend of Toby Stevens, why do you smile? 66 00:03:42,040 --> 00:03:43,040 Nothing. 67 00:03:43,040 --> 00:03:46,200 It's just odd to hear a dignified man like Mr. Stevens called Toby. 68 00:03:46,200 --> 00:03:47,200 That's all. 69 00:03:47,200 --> 00:03:48,800 Well, it suits him. 70 00:03:48,800 --> 00:03:51,560 As an old friend of his anyway, may I introduce myself? 71 00:03:51,560 --> 00:03:55,040 I'm Ken Blake, on vacation from the American Consulate in London. 72 00:03:55,040 --> 00:03:56,960 How do you do? 73 00:03:56,960 --> 00:03:59,360 My name is Grey, Marjorie Grey. 74 00:03:59,360 --> 00:04:02,920 I most particularly wanted to have a word with Mr. Stevens. 75 00:04:02,920 --> 00:04:05,520 Miss Grey, will you pardon my impertinence if I ask... 76 00:04:05,520 --> 00:04:06,520 Ask what? 77 00:04:06,520 --> 00:04:11,200 Whether it's about your Aunt Hester at Monte Carlo, and the man who seems so determined to 78 00:04:11,200 --> 00:04:12,200 scare her to death. 79 00:04:12,200 --> 00:04:15,200 Do you know about that? 80 00:04:15,200 --> 00:04:16,200 Yes, a little. 81 00:04:16,200 --> 00:04:19,800 After all, that's why Toby's left his law practice and come all the way from London. 82 00:04:19,800 --> 00:04:20,800 He said... 83 00:04:20,800 --> 00:04:21,800 Marjorie! 84 00:04:21,800 --> 00:04:23,600 Scott, what are you doing here? 85 00:04:23,600 --> 00:04:25,960 I came up from Monte Carlo especially to see you. 86 00:04:25,960 --> 00:04:30,240 I thought I'd find you in Paris, but when I got to your hotel they told me you'd gone. 87 00:04:30,240 --> 00:04:32,960 Cook said they'd reserved a compartment on this train for you. 88 00:04:32,960 --> 00:04:35,600 So, well, here I am. 89 00:04:35,600 --> 00:04:36,600 But why? 90 00:04:36,600 --> 00:04:40,680 Before you see Aunt Hester, Mr. Stevens, I want to know what you meant by that letter 91 00:04:40,680 --> 00:04:41,680 you wrote me. 92 00:04:41,680 --> 00:04:43,400 I meant exactly what I said, Marjorie. 93 00:04:43,400 --> 00:04:46,280 I'm going to expose this faker, George Ravel. 94 00:04:46,280 --> 00:04:48,720 Excuse me, if you two want to talk, I'll just clear out of here. 95 00:04:48,720 --> 00:04:49,720 Oh no, Ken, stay where you are. 96 00:04:49,720 --> 00:04:50,720 Really, Mr. Stevens? 97 00:04:50,720 --> 00:04:52,760 You've made an impression on her, Ken. 98 00:04:52,760 --> 00:04:56,920 When the girl suddenly becomes sort of a British after spending half her life on the Riviera. 99 00:04:56,920 --> 00:04:59,080 Well, you've made an impression. 100 00:04:59,080 --> 00:05:00,520 Don't talk like that, Toby. 101 00:05:00,520 --> 00:05:02,040 She won't get annoyed with you for saying it. 102 00:05:02,040 --> 00:05:03,040 She'll just get annoyed with me. 103 00:05:03,040 --> 00:05:04,040 Marjorie, this is Ken Blake. 104 00:05:04,040 --> 00:05:05,040 We've met, thanks. 105 00:05:05,040 --> 00:05:09,400 I asked him to come along with me and for a very good reason. 106 00:05:09,400 --> 00:05:10,400 Indeed? 107 00:05:10,400 --> 00:05:13,080 Ken was for years at the American Consulate in Paris. 108 00:05:13,080 --> 00:05:14,920 He knows all the heads of the Surie des Generaux. 109 00:05:14,920 --> 00:05:17,200 That's the Scotland jar to France. 110 00:05:17,200 --> 00:05:21,320 And in particular, he knows the great Detective Flemonde, who's the chef de surete. 111 00:05:21,320 --> 00:05:24,480 I thought Ken might be very useful when we nab Ravel. 112 00:05:24,480 --> 00:05:26,200 But I tell you, Ravel is dangerous. 113 00:05:26,200 --> 00:05:27,200 Dangerous, my eyes. 114 00:05:27,200 --> 00:05:28,200 Something's going to happen. 115 00:05:28,200 --> 00:05:30,320 I know something dreadful's going to happen. 116 00:05:30,320 --> 00:05:32,960 Now let's face the situation, Marjorie. 117 00:05:32,960 --> 00:05:35,240 Your Aunt Hester is middle-aged, wealthy, and... 118 00:05:35,240 --> 00:05:37,640 Oh, if only Uncle Paul hadn't died. 119 00:05:37,640 --> 00:05:39,400 He was the decentest person I ever knew. 120 00:05:39,400 --> 00:05:40,960 But he did die, my dear. 121 00:05:40,960 --> 00:05:41,960 And Hester can't be consoled. 122 00:05:41,960 --> 00:05:45,240 She can't eat, she can't sleep, she can't think of anything except getting in touch 123 00:05:45,240 --> 00:05:46,240 with his spirit. 124 00:05:46,240 --> 00:05:49,040 Along comes this faker Ravel to give seances. 125 00:05:49,040 --> 00:05:50,920 I wonder if he is a faker. 126 00:05:50,920 --> 00:05:52,920 You're not falling for this, Tommy Rot, surely? 127 00:05:52,920 --> 00:05:53,920 Really, Mr. Blake. 128 00:05:53,920 --> 00:05:55,880 If I'd asked for your advice in this matter... 129 00:05:55,880 --> 00:05:57,640 I beg your pardon, Miss Gray. 130 00:05:57,640 --> 00:06:00,320 When we get to Nice, I'll take the first train back to Paris. 131 00:06:00,320 --> 00:06:01,320 No, no, wait, please. 132 00:06:01,320 --> 00:06:02,320 I didn't mean to be rude. 133 00:06:02,320 --> 00:06:07,600 It's nice of you to help us, but it's the whole atmosphere of Monte Carlo. 134 00:06:07,600 --> 00:06:09,440 Well, that's quite all right, my dear. 135 00:06:09,440 --> 00:06:10,440 We understand. 136 00:06:10,440 --> 00:06:11,440 Of course. 137 00:06:11,440 --> 00:06:13,440 There's Aunt Hester in that villa over the Mediterranean. 138 00:06:13,440 --> 00:06:19,800 There's Ravel, all thin and quiet and swarthy, with those somber-looking eyes of his. 139 00:06:19,800 --> 00:06:24,040 He seems to dominate her, just as Mr. Stevens used to. 140 00:06:24,040 --> 00:06:25,320 Dominate her, my dear? 141 00:06:25,320 --> 00:06:28,280 That's rather a strong word for an easy-going old buffer like me. 142 00:06:28,280 --> 00:06:32,120 The things Ravel does at those seances are terrifying. 143 00:06:32,120 --> 00:06:36,880 I don't know whether he's an imposter or not, but I am sure nobody else can do what he does. 144 00:06:36,880 --> 00:06:39,120 Now, there, Marjorie, is where you're wrong. 145 00:06:39,120 --> 00:06:40,120 I can. 146 00:06:40,120 --> 00:06:41,120 You can? 147 00:06:41,120 --> 00:06:45,400 Yes, and I promise to duplicate in front of your aunt every single trick Ravel ever performed. 148 00:06:45,400 --> 00:06:46,400 Oh, that's impossible. 149 00:06:46,400 --> 00:06:47,400 Is it? 150 00:06:47,400 --> 00:06:48,400 Wait and see. 151 00:06:48,400 --> 00:06:49,400 I'll put it up to Mr. Blake. 152 00:06:49,400 --> 00:06:55,320 It isn't merely that Ravel is tied up, tied hand and foot in a chair, while these horrible 153 00:06:55,320 --> 00:06:57,040 things are going on. 154 00:06:57,040 --> 00:07:01,840 I know there are people who can get out of ropes and back into them again, but Ravel lets 155 00:07:01,840 --> 00:07:04,760 you take one precaution that shows there can't be any trickery. 156 00:07:04,760 --> 00:07:06,360 Oh, and what is that precaution? 157 00:07:06,360 --> 00:07:09,960 Just before the lights go out, he takes a piece of white paper. 158 00:07:09,960 --> 00:07:10,960 Well? 159 00:07:10,960 --> 00:07:11,960 He puts one under each foot. 160 00:07:11,960 --> 00:07:16,520 He takes a pencil and draws an outline around the shoe on the paper. 161 00:07:16,520 --> 00:07:20,920 If he moves the millionth fraction of an inch, it would show in the outline later. 162 00:07:20,920 --> 00:07:22,920 But it never does. 163 00:07:22,920 --> 00:07:25,400 Well, look, here, Toby, that's a bad one. 164 00:07:25,400 --> 00:07:27,280 Why does it strike you as being so funny? 165 00:07:27,280 --> 00:07:29,180 Because I can do it too. 166 00:07:29,180 --> 00:07:31,040 Just give me a moment of darkness, that's all. 167 00:07:31,040 --> 00:07:33,320 You mean he gets out of his shoes or something like that? 168 00:07:33,320 --> 00:07:37,240 No, he could hardly get out of his shoes and back into them without disturbing the outline. 169 00:07:37,240 --> 00:07:38,960 Then he doesn't leave his chair after all. 170 00:07:38,960 --> 00:07:40,680 On the contrary, he can be all over the room. 171 00:07:40,680 --> 00:07:42,720 Well, how in Satan's name does he do it? 172 00:07:42,720 --> 00:08:01,720 My dear fellow, there's nothing simple. 173 00:08:01,720 --> 00:08:05,440 The Villa Bijoux Monte Carlo the next evening. 174 00:08:05,440 --> 00:08:10,960 On the lighted terrace, that white villa, overlooking the olive groves and the sea, 175 00:08:10,960 --> 00:08:15,000 three people are seated at their ease enjoying the night air. 176 00:08:15,000 --> 00:08:18,440 Below glitters the town, white palm gardens. 177 00:08:18,440 --> 00:08:23,480 But even its lamps are dimmed by the firework illumination from the Promenade des Anglais. 178 00:08:23,480 --> 00:08:28,800 When the Principality of Monaco celebrates its ruler's birthday, great rockets go hissing 179 00:08:28,800 --> 00:08:39,640 upwards to burst and bloom in colored fires against the black sky. 180 00:08:39,640 --> 00:08:40,640 I don't like those fireworks. 181 00:08:40,640 --> 00:08:41,640 The noise upsets me. 182 00:08:41,640 --> 00:08:42,640 I wish they'd stop. 183 00:08:42,640 --> 00:08:43,640 Never mind the fireworks, Hester. 184 00:08:43,640 --> 00:08:44,640 You've heard my proposition. 185 00:08:44,640 --> 00:08:45,640 Give me an answer. 186 00:08:45,640 --> 00:08:46,640 Oh, what's more, you spill broth on your jacket at dinner. 187 00:08:46,640 --> 00:08:47,640 You're the clumsiest eater I ever saw. 188 00:08:47,640 --> 00:08:48,640 Here, here. 189 00:08:48,640 --> 00:08:49,640 Let me take a hack at it. 190 00:08:49,640 --> 00:08:50,640 Please, Aunt Hester. 191 00:08:50,640 --> 00:08:51,640 Won't you answer, Mr. Stevens? 192 00:08:51,640 --> 00:08:52,640 Why don't you two let me alone? 193 00:08:52,640 --> 00:08:53,640 I'm not going to let you go. 194 00:08:53,640 --> 00:08:54,640 I'm going to go. 195 00:08:54,640 --> 00:08:55,640 I'm going to go. 196 00:08:55,640 --> 00:08:56,640 I'm going to go. 197 00:08:56,640 --> 00:08:57,640 I'm going to go. 198 00:08:57,640 --> 00:08:58,640 I'm going to go. 199 00:08:58,640 --> 00:08:59,640 I'm going to go. 200 00:08:59,640 --> 00:09:00,640 I'm going to go. 201 00:09:00,640 --> 00:09:01,640 I'm going to go. 202 00:09:01,640 --> 00:09:02,640 I'll go. 203 00:09:02,640 --> 00:09:03,640 I'll go. 204 00:09:03,640 --> 00:09:04,640 I'll go. 205 00:09:04,640 --> 00:09:05,640 I'll go. 206 00:09:05,640 --> 00:09:06,640 Give me a break. 207 00:09:06,640 --> 00:09:07,640 No, you two let me alone. 208 00:09:07,640 --> 00:09:08,640 Both of you. 209 00:09:08,640 --> 00:09:09,640 We're only trying to help you. 210 00:09:09,640 --> 00:09:10,640 Don't you believe that? 211 00:09:10,640 --> 00:09:11,640 Oh, yes, I... 212 00:09:11,640 --> 00:09:12,640 I believe it. 213 00:09:12,640 --> 00:09:13,640 But I'm happy. 214 00:09:13,640 --> 00:09:14,640 I talked with my husband twice last week. 215 00:09:14,640 --> 00:09:15,640 Now, look here, Hester, this has got to stop. 216 00:09:15,640 --> 00:09:16,640 Why? 217 00:09:16,640 --> 00:09:17,640 That all's a fraud and I can prove it. 218 00:09:17,640 --> 00:09:18,640 If Monsieur Rappelle is a fraud, what is he gained by this? 219 00:09:18,640 --> 00:09:19,640 Has he got asked for money? 220 00:09:19,640 --> 00:09:20,640 I don't know. 221 00:09:20,640 --> 00:09:21,640 Has he? 222 00:09:21,640 --> 00:09:22,640 No. 223 00:09:22,640 --> 00:09:23,640 Not a penny. 224 00:09:23,640 --> 00:09:25,640 You haven't changed your will by any chance. 225 00:09:25,640 --> 00:09:28,640 People do queer things sometimes that even their solicitors don't know about. 226 00:09:28,640 --> 00:09:30,640 Oh, not yet. I haven't changed my will. 227 00:09:30,640 --> 00:09:33,640 When I die, Marjorie inherits everything. 228 00:09:33,640 --> 00:09:36,640 I am a lonely woman. I'm getting old. 229 00:09:36,640 --> 00:09:39,640 I haven't got much to look forward to. 230 00:09:39,640 --> 00:09:42,640 Why don't you go your way and let me go mine? 231 00:09:42,640 --> 00:09:44,640 Suppose Ravel is a fraud. Just suppose it. 232 00:09:44,640 --> 00:09:46,640 Well, all right. Have your way. 233 00:09:46,640 --> 00:09:49,640 You wouldn't like to think you'd been deliberately tricked and imposed on now, would you? 234 00:09:49,640 --> 00:09:51,640 Oh, no, no. Of course not. 235 00:09:51,640 --> 00:09:53,640 Now, listen, Hester. 236 00:09:53,640 --> 00:09:57,640 If I proved to you these so-called miracles were really tricks that I can do myself... 237 00:09:57,640 --> 00:09:59,640 Oh, don't be ridiculous, Alex. Alex Stephens. 238 00:09:59,640 --> 00:10:01,640 I ought to prove that here and now. 239 00:10:01,640 --> 00:10:03,640 Would that shake your faith a little? 240 00:10:03,640 --> 00:10:05,640 Yes, I suppose it would. I... 241 00:10:05,640 --> 00:10:08,640 But how did you become so clever all of a sudden? 242 00:10:08,640 --> 00:10:11,640 How did you become so gullible all of a sudden? 243 00:10:11,640 --> 00:10:15,640 You used to scoff at this sort of thing. You used to be gay and lively and go to the casino. 244 00:10:15,640 --> 00:10:18,640 Well, that was before Paul died. 245 00:10:18,640 --> 00:10:21,640 You're shivering, Marjorie, if you feel cold, put it around. 246 00:10:21,640 --> 00:10:23,640 I'm not cold. It's only... 247 00:10:23,640 --> 00:10:24,640 Only what? 248 00:10:24,640 --> 00:10:28,640 Got a kind of resentment that there's something dreadful hanging over us. 249 00:10:28,640 --> 00:10:31,640 I can't tell what direction it's taking or who's in danger. 250 00:10:31,640 --> 00:10:35,640 But I'm sure it's going to burst. Just as sure as I... 251 00:10:35,640 --> 00:10:37,640 Right. George, look at that rocket. 252 00:10:37,640 --> 00:10:40,640 Yes. Red and gold stars. 253 00:10:40,640 --> 00:10:43,640 And a deathly white blaze like the life we're living. 254 00:10:43,640 --> 00:10:46,640 You can see every leaf in the garden. Every blade of grass. 255 00:10:46,640 --> 00:10:50,640 And we can also see... Look there. Ravel and Ken Blake coming up the path. 256 00:10:50,640 --> 00:10:54,640 This... This Ken Blake, Mr. Stevens. Are you sure he's quite honest? 257 00:10:54,640 --> 00:10:57,640 My dear Marjorie, Ken's all right. I've known him for years. 258 00:10:57,640 --> 00:11:00,640 I thought he came here to help expose Ravel. 259 00:11:00,640 --> 00:11:02,640 But he and Ravel are as thick as thieves. 260 00:11:02,640 --> 00:11:04,640 What sort of game is going on here? 261 00:11:06,640 --> 00:11:09,640 Dame Mademoiselle, you spoke of a game? 262 00:11:09,640 --> 00:11:11,640 Yes, Monsieur Ravel, I did. 263 00:11:11,640 --> 00:11:13,640 So did I, friend Ravel. 264 00:11:13,640 --> 00:11:15,640 Are you ready for my demonstration tonight? 265 00:11:15,640 --> 00:11:16,640 Demonstration? 266 00:11:16,640 --> 00:11:18,640 In the science room upstairs. 267 00:11:18,640 --> 00:11:20,640 You claim you can bring back the dead. 268 00:11:20,640 --> 00:11:23,640 Pardon me, Monsieur, I claim nothing. 269 00:11:23,640 --> 00:11:26,640 When I'm in trance, I cannot tell what happens. 270 00:11:26,640 --> 00:11:30,640 But I can. I'm going to make ghosts walk by perfectly natural means. 271 00:11:30,640 --> 00:11:34,640 You know, Monsieur Stevens, I... I don't understand your logic. 272 00:11:34,640 --> 00:11:35,640 Logic? 273 00:11:35,640 --> 00:11:38,640 Yes, you wish to... How do you put it? Expose me. 274 00:11:38,640 --> 00:11:42,640 But how will you expose me by these childish tricks? 275 00:11:42,640 --> 00:11:47,640 If I show you a counterfeit £10 note, does that prove there's no Bank of England? 276 00:11:47,640 --> 00:11:50,640 I'm not going to argue subtleties with you. You can always beat me there. 277 00:11:50,640 --> 00:11:53,640 I'm a plain ordinary man with a little common sense to back me up. 278 00:11:53,640 --> 00:11:57,640 No, no, no, come on, my friend. Not an ordinary man, surely. 279 00:11:57,640 --> 00:11:59,640 Just exactly what are you hinting at? 280 00:11:59,640 --> 00:12:01,640 Yes, I... I'd like to know that too. 281 00:12:01,640 --> 00:12:05,640 Oh, Madame Hester, believe me, I didn't mean to upset you. 282 00:12:05,640 --> 00:12:08,640 I wouldn't upset you for anything. 283 00:12:08,640 --> 00:12:10,640 No, I'll bet you wouldn't. 284 00:12:10,640 --> 00:12:14,640 Why, I kiss your hand, Madame. I'm... I'm all apologies. 285 00:12:14,640 --> 00:12:18,640 Well, let this gentleman do what he likes. 286 00:12:18,640 --> 00:12:21,640 But I warn him, it is dangerous. 287 00:12:21,640 --> 00:12:24,640 Dangerous? How is it dangerous? 288 00:12:24,640 --> 00:12:26,640 That's the first time you've spoken, Mr. Blake. 289 00:12:26,640 --> 00:12:28,640 Why have you been so quiet? 290 00:12:28,640 --> 00:12:31,640 Please, Marjorie, please, now, be a good girl and stop interrupting. 291 00:12:31,640 --> 00:12:34,640 I'm sorry, Aunt Hester, but he's been muttering to himself 292 00:12:34,640 --> 00:12:37,640 and moving from one foot to the other and looking guilty. 293 00:12:37,640 --> 00:12:38,640 I've found that I'm not looking guilty. 294 00:12:38,640 --> 00:12:39,640 Aren't you? 295 00:12:39,640 --> 00:12:42,640 No, it's a hot night. I don't like this business at all. 296 00:12:42,640 --> 00:12:44,640 Why will a séance be dangerous? 297 00:12:44,640 --> 00:12:48,640 Why? Because we shall be tempering with evil forces. 298 00:12:48,640 --> 00:12:50,640 Evil forces my foot. 299 00:12:50,640 --> 00:12:51,640 Oh, you doubt it? 300 00:12:51,640 --> 00:12:53,640 Yes. 301 00:12:53,640 --> 00:12:57,640 This brave Monsieur Stevens is challenging the unseen world. 302 00:12:57,640 --> 00:13:00,640 He's mocking at forces he does not understand. 303 00:13:00,640 --> 00:13:04,640 Believe me, Monsieur, they are not mocked without danger. 304 00:13:04,640 --> 00:13:06,640 I'll risk that, thanks. 305 00:13:06,640 --> 00:13:10,640 Well up in the séance room, with a door bolted on the inside, 306 00:13:10,640 --> 00:13:13,640 we shall be at their mercy. 307 00:13:13,640 --> 00:13:18,640 The evil forces, the elementals, will wax and grow strong. 308 00:13:18,640 --> 00:13:24,640 They can take us in their grip as I take this walking stick and... 309 00:13:24,640 --> 00:13:27,640 You've got strong hands, Monsieur Ravel. 310 00:13:27,640 --> 00:13:32,640 The hands of evil spirits are stronger, much stronger. 311 00:13:32,640 --> 00:13:35,640 I'm afraid. I wonder if we ought to do this. 312 00:13:35,640 --> 00:13:37,640 I've been wondering the same thing. 313 00:13:37,640 --> 00:13:39,640 What does your aunt say? 314 00:13:39,640 --> 00:13:42,640 I don't know what to say. I'm so confused. 315 00:13:42,640 --> 00:13:45,640 I want to break down and cry. 316 00:13:45,640 --> 00:13:49,640 I suppose we'd better do it or Alex Stevens will never let me hear the end of it. 317 00:13:49,640 --> 00:13:53,640 For the last time, Monsieur, will you be warned of danger? 318 00:13:53,640 --> 00:13:54,640 No. 319 00:13:54,640 --> 00:13:55,640 Very well. 320 00:13:55,640 --> 00:13:56,640 Oh, Madame Hester. 321 00:13:56,640 --> 00:13:57,640 Yes, Monsieur Ravel. 322 00:13:57,640 --> 00:14:00,640 Do you believe that I'm an imposter? 323 00:14:00,640 --> 00:14:03,640 No, dear, of course not. 324 00:14:03,640 --> 00:14:07,640 But in your heart, you're not yet convinced. 325 00:14:07,640 --> 00:14:10,640 I don't know. 326 00:14:10,640 --> 00:14:13,640 You know, I'm not such a fool as some people seem to think. 327 00:14:13,640 --> 00:14:19,640 But if something did happen, something to show there are living forces beyond this world, 328 00:14:19,640 --> 00:14:21,640 it would convince you utterly. 329 00:14:21,640 --> 00:14:25,640 Oh, yes, I suppose it would. 330 00:14:25,640 --> 00:14:31,640 Then shall we allow Monsieur Stevens to go on with his demonstration? 331 00:14:31,640 --> 00:14:35,640 I have a feeling we shouldn't do this. 332 00:14:35,640 --> 00:14:37,640 I'm afraid! 333 00:14:42,640 --> 00:14:48,640 Upstairs, at the Villa Bijoux, there is a small, bare, deeply carpeted room. 334 00:14:48,640 --> 00:14:54,640 Its only furniture consists of a round table, five chairs, and a large cabinet phonograph. 335 00:14:54,640 --> 00:14:58,640 There is only one door, and there are no windows. 336 00:14:58,640 --> 00:15:02,640 In one chair, a little way back from the table, sits Mr. Alexander Stevens. 337 00:15:02,640 --> 00:15:07,640 He has tied hand and foot, the outline of his shoes drawn with pencil on pieces of paper, 338 00:15:07,640 --> 00:15:09,640 so that he cannot move. 339 00:15:09,640 --> 00:15:13,640 Now then, friend Ravel, have you quite finished tying me up? 340 00:15:13,640 --> 00:15:18,640 Oh, yes, yes, and I bet you you won't get out of these knots, sir. 341 00:15:18,640 --> 00:15:20,640 Well, we'll see about that. 342 00:15:20,640 --> 00:15:21,640 Well, the rest of you, ready? 343 00:15:21,640 --> 00:15:23,640 Yes, yes, all right. 344 00:15:23,640 --> 00:15:26,640 Dear, I wish I'd put some smelling salts in my handbag. 345 00:15:26,640 --> 00:15:28,640 Well, what do you want us to do now? 346 00:15:28,640 --> 00:15:31,640 You'll have conditions exactly as they are for Mr. Ravel. 347 00:15:31,640 --> 00:15:33,640 I'll sit in this chair back from the table. 348 00:15:33,640 --> 00:15:36,640 You four sit round the table, clasping hands to form a circle. 349 00:15:36,640 --> 00:15:38,640 All right, let's get on with it. 350 00:15:38,640 --> 00:15:41,640 Ken, will you start the gramophone? 351 00:15:41,640 --> 00:15:47,640 I believe it's customary, Mr. Ravel, to have hymns played at the beginning of the séance, 352 00:15:47,640 --> 00:15:49,640 to establish the proper frame of mind. 353 00:15:49,640 --> 00:15:51,640 Yes, Monsieur, that's true. 354 00:15:51,640 --> 00:15:53,640 You fool. 355 00:15:53,640 --> 00:15:54,640 What did you say? 356 00:15:54,640 --> 00:15:57,640 Oh, nothing, Monsieur, please continue. 357 00:15:57,640 --> 00:15:59,640 Start the gramophone, Ken. 358 00:15:59,640 --> 00:16:02,640 When you've done that, turn out the lights and that switch by the door. 359 00:16:02,640 --> 00:16:05,640 Then join the circle, clasp each other's hands tightly and don't let go unless... 360 00:16:05,640 --> 00:16:06,640 Unless what? 361 00:16:06,640 --> 00:16:09,640 Well, unless something gets me. 362 00:16:09,640 --> 00:16:11,640 Be careful, Monsieur. 363 00:16:11,640 --> 00:16:12,640 Go on, please, start the gramophone. 364 00:16:12,640 --> 00:16:14,640 All right, here goes. 365 00:16:18,640 --> 00:16:20,640 Now the lights, Ken, switch off the lights. 366 00:16:20,640 --> 00:16:23,640 Yes, yes, yes, there you are. 367 00:16:23,640 --> 00:16:25,640 It's pitch dark, I can't see my way back to the table. 368 00:16:25,640 --> 00:16:27,640 Here, Ken, here's my hand. 369 00:16:29,640 --> 00:16:30,640 Thank you, thanks. 370 00:16:30,640 --> 00:16:32,640 And mine on the other side, Mr. Blake. 371 00:16:32,640 --> 00:16:34,640 Thank you, I've got my bearings now. 372 00:16:34,640 --> 00:16:37,640 Are all of you clasping the hands of the next person? 373 00:16:37,640 --> 00:16:40,640 Then quiet and wait for what's going to happen. 374 00:16:45,640 --> 00:16:47,640 Ken, look. 375 00:16:47,640 --> 00:16:48,640 Look where? 376 00:16:48,640 --> 00:16:51,640 Over there, where Mr. Stevens is sitting. 377 00:16:51,640 --> 00:16:52,640 What about it? 378 00:16:52,640 --> 00:16:55,640 There's a luminous spot in the dark, about the size of a shilling. 379 00:16:55,640 --> 00:16:56,640 It's... 380 00:16:56,640 --> 00:16:58,640 Quiet, quiet, please. 381 00:17:03,640 --> 00:17:05,640 Did anything touch the back of your neck? 382 00:17:05,640 --> 00:17:06,640 No. 383 00:17:08,640 --> 00:17:09,640 What was that? 384 00:17:09,640 --> 00:17:11,640 It's Alex Stevens, I know it. 385 00:17:11,640 --> 00:17:13,640 This was not in the program, Madame. 386 00:17:13,640 --> 00:17:15,640 Break the circle and get those lights on. 387 00:17:15,640 --> 00:17:16,640 The luminous spot is still there. 388 00:17:16,640 --> 00:17:17,640 Oh, hurry, Ken. 389 00:17:17,640 --> 00:17:18,640 I can't see my way in the dark. 390 00:17:18,640 --> 00:17:20,640 I don't know which direction the lights are. 391 00:17:20,640 --> 00:17:21,640 Wait a minute. 392 00:17:21,640 --> 00:17:22,640 Here's the wall. 393 00:17:22,640 --> 00:17:24,640 If I go up along here, I ought to find the... 394 00:17:24,640 --> 00:17:26,640 Yes, yes, here it is. Lights. 395 00:17:26,640 --> 00:17:29,640 Quiet, quiet, silence, mademoiselle, please. 396 00:17:29,640 --> 00:17:31,640 What's wrong, Mr. Stevens? 397 00:17:31,640 --> 00:17:33,640 What's that sticking out of his chest? 398 00:17:33,640 --> 00:17:35,640 It's the handle of a dagger. 399 00:17:35,640 --> 00:17:38,640 And a good deal of blood has soaked through his coat, too. 400 00:17:39,640 --> 00:17:42,640 Well, Mr. Blake, will you turn off this gramophone? 401 00:17:42,640 --> 00:17:43,640 Yes, certainly. 402 00:17:43,640 --> 00:17:47,640 But you're not saying that Toby Stevens is dead. 403 00:17:47,640 --> 00:17:49,640 I'm afraid he is, my friend. 404 00:17:49,640 --> 00:17:51,640 That's a direct heart wound. 405 00:17:51,640 --> 00:17:56,640 Perhaps ten seconds of intense agony, and then the end. 406 00:17:56,640 --> 00:17:59,640 Oh, is the door still bolted from the inside? 407 00:17:59,640 --> 00:18:00,640 Yes. 408 00:18:00,640 --> 00:18:04,640 Then we are all alone, here, the four of us. 409 00:18:04,640 --> 00:18:08,640 This rash gentleman, one imagines, did not kill himself. 410 00:18:08,640 --> 00:18:10,640 He's too well tied up. 411 00:18:10,640 --> 00:18:13,640 I know who killed him, Mr. George Ravel. 412 00:18:13,640 --> 00:18:15,640 You did, with luminous paint. 413 00:18:15,640 --> 00:18:18,640 I killed him, mademoiselle, with luminous paint? 414 00:18:18,640 --> 00:18:20,640 I mean, that was part of the trick. 415 00:18:20,640 --> 00:18:21,640 You tied him up. 416 00:18:21,640 --> 00:18:23,640 You were the only one who touched him. 417 00:18:23,640 --> 00:18:25,640 And? What of that, mademoiselle? 418 00:18:25,640 --> 00:18:27,640 Luminous paint doesn't show up in the light. 419 00:18:27,640 --> 00:18:29,640 You smeared a little of it on his coat. 420 00:18:29,640 --> 00:18:32,640 That showed you exactly where to strike in the dark. 421 00:18:32,640 --> 00:18:34,640 I commend your good sense, mademoiselle. 422 00:18:34,640 --> 00:18:38,640 But there are two excellent reasons why I had nothing to do with it. 423 00:18:38,640 --> 00:18:41,640 The first reason I must keep to myself, 424 00:18:41,640 --> 00:18:44,640 but the second reason can easily be proved. 425 00:18:44,640 --> 00:18:45,640 Well, what is it? 426 00:18:45,640 --> 00:18:48,640 Well, up to the time that man screamed, 427 00:18:48,640 --> 00:18:50,640 you yourself were holding my right hand, 428 00:18:50,640 --> 00:18:53,640 and Madame Hester was holding my left hand. 429 00:18:53,640 --> 00:18:55,640 Did either of you let go at any time? 430 00:18:55,640 --> 00:18:56,640 No. 431 00:18:56,640 --> 00:18:59,640 No, that is, I didn't. 432 00:18:59,640 --> 00:19:00,640 What about you, Aunt Hester? 433 00:19:00,640 --> 00:19:01,640 No, no, Marjorie did. 434 00:19:01,640 --> 00:19:02,640 I didn't let go, either. 435 00:19:02,640 --> 00:19:03,640 He never moved. 436 00:19:03,640 --> 00:19:04,640 Hold on. Wait a minute. 437 00:19:04,640 --> 00:19:06,640 Well, monsieur, I'm sorry. 438 00:19:06,640 --> 00:19:10,640 I was holding Marjorie's hand on one side and her ants on the other, 439 00:19:10,640 --> 00:19:12,640 and they didn't move, either. 440 00:19:12,640 --> 00:19:14,640 Nobody let go or left the circle. 441 00:19:14,640 --> 00:19:15,640 That's true. 442 00:19:15,640 --> 00:19:18,640 Consequently, none of us could have killed Toby Stevens. 443 00:19:18,640 --> 00:19:19,640 Yes, it is true. 444 00:19:19,640 --> 00:19:21,640 Somebody must have sneaked in here. 445 00:19:21,640 --> 00:19:22,640 Oh, no. 446 00:19:22,640 --> 00:19:25,640 As you said yourself, the door is bolted on the inside. 447 00:19:25,640 --> 00:19:27,640 Then who the devil did kill him? 448 00:19:27,640 --> 00:19:29,640 Well, that's the question. 449 00:19:29,640 --> 00:19:32,640 Has anybody ever seen that dagger before? 450 00:19:32,640 --> 00:19:33,640 No. 451 00:19:33,640 --> 00:19:36,640 It looks like one of those curio things you buy in the shops. 452 00:19:36,640 --> 00:19:41,640 Yes, and with the design of wooden scrollwork on a handle, 453 00:19:41,640 --> 00:19:44,640 no fingerprints will show. 454 00:19:44,640 --> 00:19:48,640 Nothing else except some music instruments, 455 00:19:48,640 --> 00:19:53,640 a tambourine, an accordion, and a speaking trumpet. 456 00:19:53,640 --> 00:19:56,640 You know, I blame myself for this. 457 00:19:56,640 --> 00:19:57,640 You ought to. 458 00:19:57,640 --> 00:19:58,640 Why? 459 00:19:58,640 --> 00:19:59,640 Because you killed him. 460 00:19:59,640 --> 00:20:00,640 Don't ask me how. 461 00:20:00,640 --> 00:20:04,640 But I know why. 462 00:20:04,640 --> 00:20:06,640 Indeed, mademoiselle. 463 00:20:06,640 --> 00:20:07,640 You found my motive. 464 00:20:07,640 --> 00:20:08,640 Yes, yes, I have. 465 00:20:08,640 --> 00:20:11,640 You've got Aunt Hester fully believing in you now, haven't you? 466 00:20:11,640 --> 00:20:12,640 Easy, Marjorie. 467 00:20:12,640 --> 00:20:14,640 In another minute, you'll be talking about forces and elementals 468 00:20:14,640 --> 00:20:15,640 and heaven knows what. 469 00:20:15,640 --> 00:20:17,640 You were saying it was a spirit hand that killed Mr. Stevens 470 00:20:17,640 --> 00:20:19,640 because nobody else could have. 471 00:20:19,640 --> 00:20:20,640 Please, Marjorie, brace up. 472 00:20:20,640 --> 00:20:22,640 Someone's got to send for the police. 473 00:20:22,640 --> 00:20:24,640 Why don't you send for the police, Ken? 474 00:20:24,640 --> 00:20:26,640 Couldn't you help us there? 475 00:20:26,640 --> 00:20:28,640 Help you? How? 476 00:20:28,640 --> 00:20:31,640 Mr. Stevens said you knew the heads of the Sûreté. 477 00:20:31,640 --> 00:20:32,640 He said you knew this man, Flamand, 478 00:20:32,640 --> 00:20:34,640 who was supposed to be the greatest detective in France. 479 00:20:34,640 --> 00:20:37,640 Oh, but this isn't French territory. 480 00:20:37,640 --> 00:20:40,640 Monte Carlo is the independent state of Monaco. 481 00:20:40,640 --> 00:20:42,640 I'm sorry, Marjorie. 482 00:20:42,640 --> 00:20:44,640 Ordinarily, I might have helped. 483 00:20:44,640 --> 00:20:45,640 You mean you won't help us? 484 00:20:45,640 --> 00:20:48,640 I'm sorry, Marjorie. I can't. 485 00:20:48,640 --> 00:20:50,640 Then I've got to help myself. 486 00:20:50,640 --> 00:20:53,640 George Revelle, you killed Mr. Stevens. 487 00:20:53,640 --> 00:20:54,640 But how? 488 00:20:54,640 --> 00:20:58,640 Yes, how? 489 00:21:03,640 --> 00:21:08,640 24 hours later, 24 hours of blind puzzling. 490 00:21:08,640 --> 00:21:12,640 In the railway station at Nice, nine miles from Monte Carlo, 491 00:21:12,640 --> 00:21:15,640 the night express for Paris is already underway. 492 00:21:15,640 --> 00:21:20,640 The guard has blown his signal and the great wheels grind. 493 00:21:20,640 --> 00:21:22,640 A young man, hatless and worried, 494 00:21:22,640 --> 00:21:25,640 pushes through the crowd past the already moving train. 495 00:21:25,640 --> 00:21:27,640 No, sir. It's broken. You're too late. 496 00:21:27,640 --> 00:21:29,640 Too late? Nothing. I'm getting aboard this train. 497 00:21:29,640 --> 00:21:31,640 Take care, sir. Take care. 498 00:21:31,640 --> 00:21:34,640 I'm sorry to have caused you any trouble, guard. 499 00:21:34,640 --> 00:21:37,640 But do you happen to know whether... 500 00:21:37,640 --> 00:21:38,640 Marjorie! 501 00:21:38,640 --> 00:21:41,640 Ken Blake! What are you doing on this train? 502 00:21:41,640 --> 00:21:43,640 Exactly the question I wanted to ask you. 503 00:21:43,640 --> 00:21:45,640 Walk along the corridor with me, will you? 504 00:21:45,640 --> 00:21:48,640 All right. 505 00:21:48,640 --> 00:21:50,640 Marjorie, you little idiot. 506 00:21:50,640 --> 00:21:52,640 What's the idea of running away? 507 00:21:52,640 --> 00:21:55,640 If it's any of your business, Mr. Blake, I'm not running away. 508 00:21:55,640 --> 00:21:57,640 I'm merely going to Paris. 509 00:21:57,640 --> 00:21:59,640 You were told to stay in Monte Carlo. 510 00:21:59,640 --> 00:22:01,640 Don't you know you can land in jail for this? 511 00:22:01,640 --> 00:22:03,640 They'll put you in jail too, won't they? 512 00:22:03,640 --> 00:22:05,640 Yes, I suppose so. 513 00:22:05,640 --> 00:22:07,640 But what's the idea of going to Paris? 514 00:22:07,640 --> 00:22:10,640 First of all, I had to get Aunt Hester away from that man Revelle. 515 00:22:10,640 --> 00:22:12,640 She really thinks he can call up ghosts now. 516 00:22:12,640 --> 00:22:14,640 Is your aunt on this train? 517 00:22:14,640 --> 00:22:16,640 Yes, in that compartment there. 518 00:22:16,640 --> 00:22:18,640 Second, I'm going to Paris for some real help. 519 00:22:18,640 --> 00:22:20,640 I'm going to the Suratay. 520 00:22:20,640 --> 00:22:22,640 I'm going to see this man, Flamand. 521 00:22:22,640 --> 00:22:25,640 You won't find Flamand in Paris, Marjorie. 522 00:22:25,640 --> 00:22:28,640 And you'll certainly never get him to arrest Georges Revelle. 523 00:22:28,640 --> 00:22:30,640 Oh? And why not? 524 00:22:30,640 --> 00:22:35,640 Because, my dear idiot, Georges Revelle is Flamand. 525 00:22:36,640 --> 00:22:38,640 What are you saying? 526 00:22:38,640 --> 00:22:41,640 The man who calls himself Revelle is really Flamand, 527 00:22:41,640 --> 00:22:43,640 the head of the whole French Detective Bureau. 528 00:22:43,640 --> 00:22:46,640 He made me promise not to tell anybody. 529 00:22:46,640 --> 00:22:49,640 Oh, then that's why you've been looking so guilty for two days. 530 00:22:49,640 --> 00:22:52,640 Yes, I tried to tip you off today, but the police were with us all the time. 531 00:22:52,640 --> 00:22:54,640 So he is a fake spiritual medium. 532 00:22:54,640 --> 00:22:56,640 Mr. Stevens was right about that. 533 00:22:56,640 --> 00:22:59,640 And I still say I'm right about the other thing. 534 00:22:59,640 --> 00:23:01,640 Whoever he is, Revelle killed Mr. Stevens. 535 00:23:01,640 --> 00:23:02,640 But how and why? 536 00:23:02,640 --> 00:23:05,640 Oh, I don't know, this alleged detective. 537 00:23:05,640 --> 00:23:08,640 Did he tell you why he was masquerading as a medium in Monte Carlo? 538 00:23:08,640 --> 00:23:12,640 No. All I know is that we're in one sweet mess. 539 00:23:12,640 --> 00:23:14,640 We've left town without permission. 540 00:23:14,640 --> 00:23:17,640 They'll probably stop the train and send us back in a patrol wagon. 541 00:23:17,640 --> 00:23:20,640 Oh, no, no, no, my friend. That won't be at all necessary. 542 00:23:20,640 --> 00:23:21,640 Revelle? 543 00:23:21,640 --> 00:23:25,640 Yes, mademoiselle. Revelle or Flamand. 544 00:23:25,640 --> 00:23:27,640 Well, since you know me as Revelle, call me that. 545 00:23:27,640 --> 00:23:29,640 You knew that I was on this train? 546 00:23:29,640 --> 00:23:30,640 Oh, naturally. 547 00:23:30,640 --> 00:23:32,640 Look here, old man. 548 00:23:32,640 --> 00:23:36,640 I kept quiet about you because you swore it was a matter of life and death. 549 00:23:36,640 --> 00:23:38,640 But will you answer a couple of questions now? 550 00:23:38,640 --> 00:23:39,640 Oh, with pleasure. 551 00:23:39,640 --> 00:23:41,640 Why did you pose as a medium? 552 00:23:41,640 --> 00:23:44,640 Because the Monarchic government employed me to trap a murderer. 553 00:23:44,640 --> 00:23:47,640 So I had to work out, you see, undercover. 554 00:23:47,640 --> 00:23:50,640 All right. Why was Toby Stevens killed? 555 00:23:50,640 --> 00:23:53,640 Stevens was killed because he was a blackmailer. 556 00:23:53,640 --> 00:23:54,640 A blackmailer? 557 00:23:54,640 --> 00:23:56,640 Yes, mademoiselle. Does that surprise you? 558 00:23:56,640 --> 00:23:59,640 Yes. Oh, yes, of course. Very much. 559 00:23:59,640 --> 00:24:03,640 I tried to warn Stevens, but the fool wouldn't listen. 560 00:24:03,640 --> 00:24:07,640 And then, well, I wasn't quick enough. 561 00:24:07,640 --> 00:24:11,640 Stevens was murdered, of course, by one of us four in the séance room. 562 00:24:11,640 --> 00:24:13,640 Well, that's impossible. 563 00:24:13,640 --> 00:24:16,640 Hmm? Impossible? Oh, no. 564 00:24:16,640 --> 00:24:20,640 The trick was baffling because of its simplicity. 565 00:24:20,640 --> 00:24:22,640 I'm sure you killed him. 566 00:24:22,640 --> 00:24:24,640 One moment, mademoiselle. 567 00:24:24,640 --> 00:24:29,640 Let me show you what I mean by trick baffling because it is so simple. 568 00:24:29,640 --> 00:24:34,640 Take, for example, the pencil outlet drawn on a paper around the medium shoes. 569 00:24:34,640 --> 00:24:37,640 Did Stevens tell you how I did that? 570 00:24:37,640 --> 00:24:41,640 No. On this train two nights ago, he started to tell us... 571 00:24:41,640 --> 00:24:44,640 Then he just stopped in the middle of it and left. 572 00:24:44,640 --> 00:24:48,640 You see, the medium leaves his chair. 573 00:24:48,640 --> 00:24:54,640 Well, he makes tambourines for rattle and ghost forms appear. 574 00:24:54,640 --> 00:24:57,640 Yet the pencil outline is not disturbed. 575 00:24:57,640 --> 00:24:59,640 Now, how does he manage it? 576 00:24:59,640 --> 00:25:01,640 Well, how does he manage it? 577 00:25:01,640 --> 00:25:05,640 Well, quite easily. He returns to his chair. 578 00:25:05,640 --> 00:25:08,640 He turns over the two pieces of paper. 579 00:25:08,640 --> 00:25:15,640 He takes another pencil and draws an outline of his shoes on the reverse side of the paper. 580 00:25:15,640 --> 00:25:17,640 Well, you look at it. 581 00:25:17,640 --> 00:25:19,640 And imagine it's the same outline we drew. 582 00:25:19,640 --> 00:25:23,640 Precisely. So easily our people misled. 583 00:25:23,640 --> 00:25:26,640 And it was the same way with a murder. 584 00:25:26,640 --> 00:25:28,640 But there couldn't have been any trick about the murder. 585 00:25:28,640 --> 00:25:31,640 None of us left the circle. 586 00:25:31,640 --> 00:25:34,640 We were all clasping hands when we heard that scream. 587 00:25:34,640 --> 00:25:35,640 Don't you agree? 588 00:25:35,640 --> 00:25:37,640 Oh, yes, I agree. 589 00:25:37,640 --> 00:25:39,640 I can't stand this any longer. 590 00:25:39,640 --> 00:25:41,640 When we heard Mr. Stevens utter that horrible scream... 591 00:25:41,640 --> 00:25:45,640 What makes you think it was Stevens who uttered that scream? 592 00:25:45,640 --> 00:25:47,640 I beg your pardon. 593 00:25:47,640 --> 00:25:50,640 What makes you think it was Stevens who screamed? 594 00:25:50,640 --> 00:25:52,640 Well, or wasn't it? 595 00:25:52,640 --> 00:25:54,640 Oh, you assumed it, yes. 596 00:25:54,640 --> 00:25:56,640 We all assumed it. 597 00:25:56,640 --> 00:26:00,640 But up to that time, Stevens wasn't even hurt. 598 00:26:00,640 --> 00:26:02,640 Wasn't hurt? 599 00:26:02,640 --> 00:26:07,640 You see, the source of sound cannot be located in the dark. 600 00:26:07,640 --> 00:26:11,640 It was the murderer who uttered that appalling cry. 601 00:26:11,640 --> 00:26:15,640 In a few seconds of darkness, before the lights went on, 602 00:26:15,640 --> 00:26:21,640 the killers simply leaned across and drove that dagger into Stevens' chest. 603 00:26:21,640 --> 00:26:22,640 And you proved that? 604 00:26:22,640 --> 00:26:27,640 Yes. If Stevens had been hit at the time of the scream, 605 00:26:27,640 --> 00:26:31,640 blood would have blotted out the spot of luminous paint. 606 00:26:31,640 --> 00:26:36,640 Yet Marjorie Gray saw the paint shining after the scream. 607 00:26:36,640 --> 00:26:38,640 That's true, Marjorie. I heard you say so. 608 00:26:38,640 --> 00:26:40,640 You put the luminous paint there, Ravel. 609 00:26:40,640 --> 00:26:42,640 You were the only person who touched him. 610 00:26:42,640 --> 00:26:46,640 Oh, no. There was one other person who touched him. 611 00:26:46,640 --> 00:26:47,640 Who was it? 612 00:26:47,640 --> 00:26:53,640 Another person in full sight of you said Stevens had spilled broth on his coat 613 00:26:53,640 --> 00:26:56,640 and swabbed at his chest with a handkerchief. 614 00:26:56,640 --> 00:26:57,640 You mean... 615 00:26:57,640 --> 00:27:00,640 I mean, of course, the real murderer. 616 00:27:00,640 --> 00:27:02,640 Your Aunt Hester. 617 00:27:03,640 --> 00:27:07,640 Yes, Marjorie. Your Aunt Hester. 618 00:27:07,640 --> 00:27:08,640 Aunt Hester! 619 00:27:08,640 --> 00:27:09,640 Keep back, all of you. 620 00:27:09,640 --> 00:27:12,640 Oh, so you managed to find the revolver. 621 00:27:12,640 --> 00:27:15,640 Marjorie, I poisoned your Uncle Paul. 622 00:27:15,640 --> 00:27:18,640 I poisoned my husband, and Alex Stevens knew it. 623 00:27:18,640 --> 00:27:21,640 You can't get away, Madame. Keep away from that door. 624 00:27:21,640 --> 00:27:23,640 I never believed in spiritualism. 625 00:27:23,640 --> 00:27:25,640 I let myself be influenced by a medium 626 00:27:25,640 --> 00:27:28,640 because Alex Stevens would try to stop it. 627 00:27:28,640 --> 00:27:31,640 He was getting money out of me. He wanted no other influence. 628 00:27:31,640 --> 00:27:33,640 Don't open that door, Madame. 629 00:27:33,640 --> 00:27:34,640 But I am opening it. 630 00:27:34,640 --> 00:27:35,640 Aunt Hester, don't! 631 00:27:35,640 --> 00:27:37,640 I told you I wasn't a fool as I looked. 632 00:27:37,640 --> 00:27:39,640 I had the knife in my handbag. 633 00:27:39,640 --> 00:27:41,640 Stop her, Kim. Stop her! 634 00:27:41,640 --> 00:27:42,640 No! 635 00:27:44,640 --> 00:27:46,640 Well, Mademoiselle... 636 00:27:47,640 --> 00:27:49,640 She has committed many crimes, 637 00:27:49,640 --> 00:27:52,640 but now she has paid for them all. 638 00:27:52,640 --> 00:27:55,640 THE END 639 00:28:09,640 --> 00:28:12,640 And so closes the moment of darkness, 640 00:28:12,640 --> 00:28:14,640 starring Peter Lorre, 641 00:28:14,640 --> 00:28:15,640 Wendy Berry, 642 00:28:15,640 --> 00:28:17,640 with George Zuko. 643 00:28:17,640 --> 00:28:19,640 Tonight's tale of... 644 00:28:19,640 --> 00:28:21,640 Suspense. 645 00:28:32,640 --> 00:28:35,640 This is your narrator, the man in black, 646 00:28:35,640 --> 00:28:37,640 who conveys to you Columbia's invitation 647 00:28:37,640 --> 00:28:42,640 to spend this half hour in suspense with us again next Tuesday, 648 00:28:42,640 --> 00:28:45,640 when Agnes Moorhead and Ray Collins 649 00:28:45,640 --> 00:28:48,640 will star in a study in terror 650 00:28:48,640 --> 00:28:52,640 titled The Diary of Sophronia Winter. 651 00:28:56,640 --> 00:28:59,640 The producer of these broadcasts is William Spear, 652 00:28:59,640 --> 00:29:01,640 who with Ted Bliss, the director, 653 00:29:01,640 --> 00:29:06,640 Wilbur Hatch, and Hushan Marowick, conductor and composer, 654 00:29:06,640 --> 00:29:09,640 and John Dixon Carr, the author, 655 00:29:09,640 --> 00:29:11,640 collaborated on tonight's... 656 00:29:11,640 --> 00:29:17,640 Suspense. 657 00:29:17,640 --> 00:29:37,640 This is the Columbia Broadcasting System.