WEBVTT 00:00.000 --> 00:01.000 Suspense. 00:01.000 --> 00:23.040 This is the man in black here again to introduce Columbia's program, Suspense. 00:23.040 --> 00:28.880 In our starring Hollywood cast this evening is Mr. Peter Laurie, who appears as a mysterious 00:28.880 --> 00:31.920 gentleman called George Ravel. 00:31.920 --> 00:35.280 Miss Wendy Berry plays our worried heroin marjorie. 00:35.280 --> 00:39.480 Mr. George Zuko is the lawyer, Alex Stevens. 00:39.480 --> 00:45.120 The story called The Moment of Darkness is tonight's tale, our suspense. 00:45.120 --> 00:50.220 If you have been with us on these Tuesday nights, you will know that suspense is compounded 00:50.220 --> 00:54.720 of mystery and suspicion and dangerous adventure. 00:54.720 --> 00:58.520 In this series our tales calculated to intrigue you. 00:58.520 --> 01:04.840 To scare your nerves, to offer you a precarious situation and then withhold a solution until 01:04.840 --> 01:08.280 the last possible moment. 01:08.280 --> 01:13.560 And so with The Moment of Darkness and with the performances of Peter Laurie, Wendy Berry, 01:13.560 --> 01:32.200 George Zuko and our other players, we again hope to keep you in suspense. 01:32.200 --> 01:37.800 The Clan Bleu crack express train from Paris to the French Riviera, which in these carefree 01:37.800 --> 01:43.520 days before the war, used to make the journey from Paris to Nice overnight. 01:43.520 --> 01:48.120 At the Gare du Sud on this particular mild spring evening, the train with its glistening 01:48.120 --> 01:53.720 wagons lises or sleeping cars waits in a station filled with smoke and the iron coughing of 01:53.720 --> 01:54.920 engines. 01:54.920 --> 01:58.880 You can hear the excited crowd at the slamming of compartment doors. 01:58.880 --> 02:02.800 You can see the guard standing by with his watch in hand, with his horn ready to blow 02:02.800 --> 02:03.800 as a signal. 02:03.800 --> 02:04.800 En voiture, monsieur le voyageur. 02:04.800 --> 02:05.800 En voiture. 02:05.800 --> 02:06.800 En voiture. 02:06.800 --> 02:07.800 En voiture. 02:07.800 --> 02:08.800 En voiture. 02:08.800 --> 02:09.800 En voiture. 02:09.800 --> 02:10.800 En voiture. 02:10.800 --> 02:11.800 En voiture. 02:11.800 --> 02:12.800 En voiture. 02:12.800 --> 02:16.600 And now, the last moment just before the signal, a girl in a light summer dress carrying 02:16.600 --> 02:20.640 a small suitcase hurries along the platform towards car number 10. 02:20.640 --> 02:23.040 The girl is blonde and evidently English. 02:23.040 --> 02:24.600 And as she hurries towards the guard... 02:24.600 --> 02:25.600 En voiture. 02:25.600 --> 02:26.600 Dépêchez-vous, mademoiselle. 02:26.600 --> 02:27.600 Hurry up, please. 02:27.600 --> 02:28.600 Yes, yes, of course. 02:28.600 --> 02:29.600 Is this carriage number 10? 02:29.600 --> 02:30.600 Oui, mademoiselle, numéro 10. 02:30.600 --> 02:31.600 Hurry up, please. 02:31.600 --> 02:32.600 Thank you. 02:32.600 --> 02:33.600 I'll get in. 02:33.600 --> 02:34.600 Et maintenant... 02:34.600 --> 03:02.760 This corridor must be at least a mile long. 03:02.760 --> 03:05.920 Carre 10. 03:05.920 --> 03:08.120 Compartment number 6. 03:08.120 --> 03:09.120 Compartment number 6. 03:09.120 --> 03:10.120 Compartment... 03:10.120 --> 03:11.120 Here it is. 03:11.120 --> 03:12.120 Yes, come in. 03:12.120 --> 03:13.120 Mr. Stevens, I... 03:13.120 --> 03:14.120 Oh, I beg your pardon. 03:14.120 --> 03:15.120 That's quite all right. 03:15.120 --> 03:16.120 Won't you come in? 03:16.120 --> 03:17.120 I thought this was Mr. Stevens' compartment. 03:17.120 --> 03:18.120 It is his compartment. 03:18.120 --> 03:19.120 I'm sharing it with him. 03:19.120 --> 03:20.120 He is on the train, isn't he? 03:20.120 --> 03:21.120 Oh, yes, yes. 03:21.120 --> 03:22.120 He's gone to look for some luggage that failed to turn up. 03:22.120 --> 03:33.520 In the meantime, won't you come in and sit down? 03:33.520 --> 03:37.720 Thank you. 03:37.720 --> 03:42.040 As an old friend of Toby Stevens, why do you smile? 03:42.040 --> 03:43.040 Nothing. 03:43.040 --> 03:46.200 It's just odd to hear a dignified man like Mr. Stevens called Toby. 03:46.200 --> 03:47.200 That's all. 03:47.200 --> 03:48.800 Well, it suits him. 03:48.800 --> 03:51.560 As an old friend of his anyway, may I introduce myself? 03:51.560 --> 03:55.040 I'm Ken Blake, on vacation from the American Consulate in London. 03:55.040 --> 03:56.960 How do you do? 03:56.960 --> 03:59.360 My name is Grey, Marjorie Grey. 03:59.360 --> 04:02.920 I most particularly wanted to have a word with Mr. Stevens. 04:02.920 --> 04:05.520 Miss Grey, will you pardon my impertinence if I ask... 04:05.520 --> 04:06.520 Ask what? 04:06.520 --> 04:11.200 Whether it's about your Aunt Hester at Monte Carlo, and the man who seems so determined to 04:11.200 --> 04:12.200 scare her to death. 04:12.200 --> 04:15.200 Do you know about that? 04:15.200 --> 04:16.200 Yes, a little. 04:16.200 --> 04:19.800 After all, that's why Toby's left his law practice and come all the way from London. 04:19.800 --> 04:20.800 He said... 04:20.800 --> 04:21.800 Marjorie! 04:21.800 --> 04:23.600 Scott, what are you doing here? 04:23.600 --> 04:25.960 I came up from Monte Carlo especially to see you. 04:25.960 --> 04:30.240 I thought I'd find you in Paris, but when I got to your hotel they told me you'd gone. 04:30.240 --> 04:32.960 Cook said they'd reserved a compartment on this train for you. 04:32.960 --> 04:35.600 So, well, here I am. 04:35.600 --> 04:36.600 But why? 04:36.600 --> 04:40.680 Before you see Aunt Hester, Mr. Stevens, I want to know what you meant by that letter 04:40.680 --> 04:41.680 you wrote me. 04:41.680 --> 04:43.400 I meant exactly what I said, Marjorie. 04:43.400 --> 04:46.280 I'm going to expose this faker, George Ravel. 04:46.280 --> 04:48.720 Excuse me, if you two want to talk, I'll just clear out of here. 04:48.720 --> 04:49.720 Oh no, Ken, stay where you are. 04:49.720 --> 04:50.720 Really, Mr. Stevens? 04:50.720 --> 04:52.760 You've made an impression on her, Ken. 04:52.760 --> 04:56.920 When the girl suddenly becomes sort of a British after spending half her life on the Riviera. 04:56.920 --> 04:59.080 Well, you've made an impression. 04:59.080 --> 05:00.520 Don't talk like that, Toby. 05:00.520 --> 05:02.040 She won't get annoyed with you for saying it. 05:02.040 --> 05:03.040 She'll just get annoyed with me. 05:03.040 --> 05:04.040 Marjorie, this is Ken Blake. 05:04.040 --> 05:05.040 We've met, thanks. 05:05.040 --> 05:09.400 I asked him to come along with me and for a very good reason. 05:09.400 --> 05:10.400 Indeed? 05:10.400 --> 05:13.080 Ken was for years at the American Consulate in Paris. 05:13.080 --> 05:14.920 He knows all the heads of the Surie des Generaux. 05:14.920 --> 05:17.200 That's the Scotland jar to France. 05:17.200 --> 05:21.320 And in particular, he knows the great Detective Flemonde, who's the chef de surete. 05:21.320 --> 05:24.480 I thought Ken might be very useful when we nab Ravel. 05:24.480 --> 05:26.200 But I tell you, Ravel is dangerous. 05:26.200 --> 05:27.200 Dangerous, my eyes. 05:27.200 --> 05:28.200 Something's going to happen. 05:28.200 --> 05:30.320 I know something dreadful's going to happen. 05:30.320 --> 05:32.960 Now let's face the situation, Marjorie. 05:32.960 --> 05:35.240 Your Aunt Hester is middle-aged, wealthy, and... 05:35.240 --> 05:37.640 Oh, if only Uncle Paul hadn't died. 05:37.640 --> 05:39.400 He was the decentest person I ever knew. 05:39.400 --> 05:40.960 But he did die, my dear. 05:40.960 --> 05:41.960 And Hester can't be consoled. 05:41.960 --> 05:45.240 She can't eat, she can't sleep, she can't think of anything except getting in touch 05:45.240 --> 05:46.240 with his spirit. 05:46.240 --> 05:49.040 Along comes this faker Ravel to give seances. 05:49.040 --> 05:50.920 I wonder if he is a faker. 05:50.920 --> 05:52.920 You're not falling for this, Tommy Rot, surely? 05:52.920 --> 05:53.920 Really, Mr. Blake. 05:53.920 --> 05:55.880 If I'd asked for your advice in this matter... 05:55.880 --> 05:57.640 I beg your pardon, Miss Gray. 05:57.640 --> 06:00.320 When we get to Nice, I'll take the first train back to Paris. 06:00.320 --> 06:01.320 No, no, wait, please. 06:01.320 --> 06:02.320 I didn't mean to be rude. 06:02.320 --> 06:07.600 It's nice of you to help us, but it's the whole atmosphere of Monte Carlo. 06:07.600 --> 06:09.440 Well, that's quite all right, my dear. 06:09.440 --> 06:10.440 We understand. 06:10.440 --> 06:11.440 Of course. 06:11.440 --> 06:13.440 There's Aunt Hester in that villa over the Mediterranean. 06:13.440 --> 06:19.800 There's Ravel, all thin and quiet and swarthy, with those somber-looking eyes of his. 06:19.800 --> 06:24.040 He seems to dominate her, just as Mr. Stevens used to. 06:24.040 --> 06:25.320 Dominate her, my dear? 06:25.320 --> 06:28.280 That's rather a strong word for an easy-going old buffer like me. 06:28.280 --> 06:32.120 The things Ravel does at those seances are terrifying. 06:32.120 --> 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. 06:36.880 --> 06:39.120 Now, there, Marjorie, is where you're wrong. 06:39.120 --> 06:40.120 I can. 06:40.120 --> 06:41.120 You can? 06:41.120 --> 06:45.400 Yes, and I promise to duplicate in front of your aunt every single trick Ravel ever performed. 06:45.400 --> 06:46.400 Oh, that's impossible. 06:46.400 --> 06:47.400 Is it? 06:47.400 --> 06:48.400 Wait and see. 06:48.400 --> 06:49.400 I'll put it up to Mr. Blake. 06:49.400 --> 06:55.320 It isn't merely that Ravel is tied up, tied hand and foot in a chair, while these horrible 06:55.320 --> 06:57.040 things are going on. 06:57.040 --> 07:01.840 I know there are people who can get out of ropes and back into them again, but Ravel lets 07:01.840 --> 07:04.760 you take one precaution that shows there can't be any trickery. 07:04.760 --> 07:06.360 Oh, and what is that precaution? 07:06.360 --> 07:09.960 Just before the lights go out, he takes a piece of white paper. 07:09.960 --> 07:10.960 Well? 07:10.960 --> 07:11.960 He puts one under each foot. 07:11.960 --> 07:16.520 He takes a pencil and draws an outline around the shoe on the paper. 07:16.520 --> 07:20.920 If he moves the millionth fraction of an inch, it would show in the outline later. 07:20.920 --> 07:22.920 But it never does. 07:22.920 --> 07:25.400 Well, look, here, Toby, that's a bad one. 07:25.400 --> 07:27.280 Why does it strike you as being so funny? 07:27.280 --> 07:29.180 Because I can do it too. 07:29.180 --> 07:31.040 Just give me a moment of darkness, that's all. 07:31.040 --> 07:33.320 You mean he gets out of his shoes or something like that? 07:33.320 --> 07:37.240 No, he could hardly get out of his shoes and back into them without disturbing the outline. 07:37.240 --> 07:38.960 Then he doesn't leave his chair after all. 07:38.960 --> 07:40.680 On the contrary, he can be all over the room. 07:40.680 --> 07:42.720 Well, how in Satan's name does he do it? 07:42.720 --> 08:01.720 My dear fellow, there's nothing simple. 08:01.720 --> 08:05.440 The Villa Bijoux Monte Carlo the next evening. 08:05.440 --> 08:10.960 On the lighted terrace, that white villa, overlooking the olive groves and the sea, 08:10.960 --> 08:15.000 three people are seated at their ease enjoying the night air. 08:15.000 --> 08:18.440 Below glitters the town, white palm gardens. 08:18.440 --> 08:23.480 But even its lamps are dimmed by the firework illumination from the Promenade des Anglais. 08:23.480 --> 08:28.800 When the Principality of Monaco celebrates its ruler's birthday, great rockets go hissing 08:28.800 --> 08:39.640 upwards to burst and bloom in colored fires against the black sky. 08:39.640 --> 08:40.640 I don't like those fireworks. 08:40.640 --> 08:41.640 The noise upsets me. 08:41.640 --> 08:42.640 I wish they'd stop. 08:42.640 --> 08:43.640 Never mind the fireworks, Hester. 08:43.640 --> 08:44.640 You've heard my proposition. 08:44.640 --> 08:45.640 Give me an answer. 08:45.640 --> 08:46.640 Oh, what's more, you spill broth on your jacket at dinner. 08:46.640 --> 08:47.640 You're the clumsiest eater I ever saw. 08:47.640 --> 08:48.640 Here, here. 08:48.640 --> 08:49.640 Let me take a hack at it. 08:49.640 --> 08:50.640 Please, Aunt Hester. 08:50.640 --> 08:51.640 Won't you answer, Mr. Stevens? 08:51.640 --> 08:52.640 Why don't you two let me alone? 08:52.640 --> 08:53.640 I'm not going to let you go. 08:53.640 --> 08:54.640 I'm going to go. 08:54.640 --> 08:55.640 I'm going to go. 08:55.640 --> 08:56.640 I'm going to go. 08:56.640 --> 08:57.640 I'm going to go. 08:57.640 --> 08:58.640 I'm going to go. 08:58.640 --> 08:59.640 I'm going to go. 08:59.640 --> 09:00.640 I'm going to go. 09:00.640 --> 09:01.640 I'm going to go. 09:01.640 --> 09:02.640 I'll go. 09:02.640 --> 09:03.640 I'll go. 09:03.640 --> 09:04.640 I'll go. 09:04.640 --> 09:05.640 I'll go. 09:05.640 --> 09:06.640 Give me a break. 09:06.640 --> 09:07.640 No, you two let me alone. 09:07.640 --> 09:08.640 Both of you. 09:08.640 --> 09:09.640 We're only trying to help you. 09:09.640 --> 09:10.640 Don't you believe that? 09:10.640 --> 09:11.640 Oh, yes, I... 09:11.640 --> 09:12.640 I believe it. 09:12.640 --> 09:13.640 But I'm happy. 09:13.640 --> 09:14.640 I talked with my husband twice last week. 09:14.640 --> 09:15.640 Now, look here, Hester, this has got to stop. 09:15.640 --> 09:16.640 Why? 09:16.640 --> 09:17.640 That all's a fraud and I can prove it. 09:17.640 --> 09:18.640 If Monsieur Rappelle is a fraud, what is he gained by this? 09:18.640 --> 09:19.640 Has he got asked for money? 09:19.640 --> 09:20.640 I don't know. 09:20.640 --> 09:21.640 Has he? 09:21.640 --> 09:22.640 No. 09:22.640 --> 09:23.640 Not a penny. 09:23.640 --> 09:25.640 You haven't changed your will by any chance. 09:25.640 --> 09:28.640 People do queer things sometimes that even their solicitors don't know about. 09:28.640 --> 09:30.640 Oh, not yet. I haven't changed my will. 09:30.640 --> 09:33.640 When I die, Marjorie inherits everything. 09:33.640 --> 09:36.640 I am a lonely woman. I'm getting old. 09:36.640 --> 09:39.640 I haven't got much to look forward to. 09:39.640 --> 09:42.640 Why don't you go your way and let me go mine? 09:42.640 --> 09:44.640 Suppose Ravel is a fraud. Just suppose it. 09:44.640 --> 09:46.640 Well, all right. Have your way. 09:46.640 --> 09:49.640 You wouldn't like to think you'd been deliberately tricked and imposed on now, would you? 09:49.640 --> 09:51.640 Oh, no, no. Of course not. 09:51.640 --> 09:53.640 Now, listen, Hester. 09:53.640 --> 09:57.640 If I proved to you these so-called miracles were really tricks that I can do myself... 09:57.640 --> 09:59.640 Oh, don't be ridiculous, Alex. Alex Stephens. 09:59.640 --> 10:01.640 I ought to prove that here and now. 10:01.640 --> 10:03.640 Would that shake your faith a little? 10:03.640 --> 10:05.640 Yes, I suppose it would. I... 10:05.640 --> 10:08.640 But how did you become so clever all of a sudden? 10:08.640 --> 10:11.640 How did you become so gullible all of a sudden? 10:11.640 --> 10:15.640 You used to scoff at this sort of thing. You used to be gay and lively and go to the casino. 10:15.640 --> 10:18.640 Well, that was before Paul died. 10:18.640 --> 10:21.640 You're shivering, Marjorie, if you feel cold, put it around. 10:21.640 --> 10:23.640 I'm not cold. It's only... 10:23.640 --> 10:24.640 Only what? 10:24.640 --> 10:28.640 Got a kind of resentment that there's something dreadful hanging over us. 10:28.640 --> 10:31.640 I can't tell what direction it's taking or who's in danger. 10:31.640 --> 10:35.640 But I'm sure it's going to burst. Just as sure as I... 10:35.640 --> 10:37.640 Right. George, look at that rocket. 10:37.640 --> 10:40.640 Yes. Red and gold stars. 10:40.640 --> 10:43.640 And a deathly white blaze like the life we're living. 10:43.640 --> 10:46.640 You can see every leaf in the garden. Every blade of grass. 10:46.640 --> 10:50.640 And we can also see... Look there. Ravel and Ken Blake coming up the path. 10:50.640 --> 10:54.640 This... This Ken Blake, Mr. Stevens. Are you sure he's quite honest? 10:54.640 --> 10:57.640 My dear Marjorie, Ken's all right. I've known him for years. 10:57.640 --> 11:00.640 I thought he came here to help expose Ravel. 11:00.640 --> 11:02.640 But he and Ravel are as thick as thieves. 11:02.640 --> 11:04.640 What sort of game is going on here? 11:06.640 --> 11:09.640 Dame Mademoiselle, you spoke of a game? 11:09.640 --> 11:11.640 Yes, Monsieur Ravel, I did. 11:11.640 --> 11:13.640 So did I, friend Ravel. 11:13.640 --> 11:15.640 Are you ready for my demonstration tonight? 11:15.640 --> 11:16.640 Demonstration? 11:16.640 --> 11:18.640 In the science room upstairs. 11:18.640 --> 11:20.640 You claim you can bring back the dead. 11:20.640 --> 11:23.640 Pardon me, Monsieur, I claim nothing. 11:23.640 --> 11:26.640 When I'm in trance, I cannot tell what happens. 11:26.640 --> 11:30.640 But I can. I'm going to make ghosts walk by perfectly natural means. 11:30.640 --> 11:34.640 You know, Monsieur Stevens, I... I don't understand your logic. 11:34.640 --> 11:35.640 Logic? 11:35.640 --> 11:38.640 Yes, you wish to... How do you put it? Expose me. 11:38.640 --> 11:42.640 But how will you expose me by these childish tricks? 11:42.640 --> 11:47.640 If I show you a counterfeit £10 note, does that prove there's no Bank of England? 11:47.640 --> 11:50.640 I'm not going to argue subtleties with you. You can always beat me there. 11:50.640 --> 11:53.640 I'm a plain ordinary man with a little common sense to back me up. 11:53.640 --> 11:57.640 No, no, no, come on, my friend. Not an ordinary man, surely. 11:57.640 --> 11:59.640 Just exactly what are you hinting at? 11:59.640 --> 12:01.640 Yes, I... I'd like to know that too. 12:01.640 --> 12:05.640 Oh, Madame Hester, believe me, I didn't mean to upset you. 12:05.640 --> 12:08.640 I wouldn't upset you for anything. 12:08.640 --> 12:10.640 No, I'll bet you wouldn't. 12:10.640 --> 12:14.640 Why, I kiss your hand, Madame. I'm... I'm all apologies. 12:14.640 --> 12:18.640 Well, let this gentleman do what he likes. 12:18.640 --> 12:21.640 But I warn him, it is dangerous. 12:21.640 --> 12:24.640 Dangerous? How is it dangerous? 12:24.640 --> 12:26.640 That's the first time you've spoken, Mr. Blake. 12:26.640 --> 12:28.640 Why have you been so quiet? 12:28.640 --> 12:31.640 Please, Marjorie, please, now, be a good girl and stop interrupting. 12:31.640 --> 12:34.640 I'm sorry, Aunt Hester, but he's been muttering to himself 12:34.640 --> 12:37.640 and moving from one foot to the other and looking guilty. 12:37.640 --> 12:38.640 I've found that I'm not looking guilty. 12:38.640 --> 12:39.640 Aren't you? 12:39.640 --> 12:42.640 No, it's a hot night. I don't like this business at all. 12:42.640 --> 12:44.640 Why will a séance be dangerous? 12:44.640 --> 12:48.640 Why? Because we shall be tempering with evil forces. 12:48.640 --> 12:50.640 Evil forces my foot. 12:50.640 --> 12:51.640 Oh, you doubt it? 12:51.640 --> 12:53.640 Yes. 12:53.640 --> 12:57.640 This brave Monsieur Stevens is challenging the unseen world. 12:57.640 --> 13:00.640 He's mocking at forces he does not understand. 13:00.640 --> 13:04.640 Believe me, Monsieur, they are not mocked without danger. 13:04.640 --> 13:06.640 I'll risk that, thanks. 13:06.640 --> 13:10.640 Well up in the séance room, with a door bolted on the inside, 13:10.640 --> 13:13.640 we shall be at their mercy. 13:13.640 --> 13:18.640 The evil forces, the elementals, will wax and grow strong. 13:18.640 --> 13:24.640 They can take us in their grip as I take this walking stick and... 13:24.640 --> 13:27.640 You've got strong hands, Monsieur Ravel. 13:27.640 --> 13:32.640 The hands of evil spirits are stronger, much stronger. 13:32.640 --> 13:35.640 I'm afraid. I wonder if we ought to do this. 13:35.640 --> 13:37.640 I've been wondering the same thing. 13:37.640 --> 13:39.640 What does your aunt say? 13:39.640 --> 13:42.640 I don't know what to say. I'm so confused. 13:42.640 --> 13:45.640 I want to break down and cry. 13:45.640 --> 13:49.640 I suppose we'd better do it or Alex Stevens will never let me hear the end of it. 13:49.640 --> 13:53.640 For the last time, Monsieur, will you be warned of danger? 13:53.640 --> 13:54.640 No. 13:54.640 --> 13:55.640 Very well. 13:55.640 --> 13:56.640 Oh, Madame Hester. 13:56.640 --> 13:57.640 Yes, Monsieur Ravel. 13:57.640 --> 14:00.640 Do you believe that I'm an imposter? 14:00.640 --> 14:03.640 No, dear, of course not. 14:03.640 --> 14:07.640 But in your heart, you're not yet convinced. 14:07.640 --> 14:10.640 I don't know. 14:10.640 --> 14:13.640 You know, I'm not such a fool as some people seem to think. 14:13.640 --> 14:19.640 But if something did happen, something to show there are living forces beyond this world, 14:19.640 --> 14:21.640 it would convince you utterly. 14:21.640 --> 14:25.640 Oh, yes, I suppose it would. 14:25.640 --> 14:31.640 Then shall we allow Monsieur Stevens to go on with his demonstration? 14:31.640 --> 14:35.640 I have a feeling we shouldn't do this. 14:35.640 --> 14:37.640 I'm afraid! 14:42.640 --> 14:48.640 Upstairs, at the Villa Bijoux, there is a small, bare, deeply carpeted room. 14:48.640 --> 14:54.640 Its only furniture consists of a round table, five chairs, and a large cabinet phonograph. 14:54.640 --> 14:58.640 There is only one door, and there are no windows. 14:58.640 --> 15:02.640 In one chair, a little way back from the table, sits Mr. Alexander Stevens. 15:02.640 --> 15:07.640 He has tied hand and foot, the outline of his shoes drawn with pencil on pieces of paper, 15:07.640 --> 15:09.640 so that he cannot move. 15:09.640 --> 15:13.640 Now then, friend Ravel, have you quite finished tying me up? 15:13.640 --> 15:18.640 Oh, yes, yes, and I bet you you won't get out of these knots, sir. 15:18.640 --> 15:20.640 Well, we'll see about that. 15:20.640 --> 15:21.640 Well, the rest of you, ready? 15:21.640 --> 15:23.640 Yes, yes, all right. 15:23.640 --> 15:26.640 Dear, I wish I'd put some smelling salts in my handbag. 15:26.640 --> 15:28.640 Well, what do you want us to do now? 15:28.640 --> 15:31.640 You'll have conditions exactly as they are for Mr. Ravel. 15:31.640 --> 15:33.640 I'll sit in this chair back from the table. 15:33.640 --> 15:36.640 You four sit round the table, clasping hands to form a circle. 15:36.640 --> 15:38.640 All right, let's get on with it. 15:38.640 --> 15:41.640 Ken, will you start the gramophone? 15:41.640 --> 15:47.640 I believe it's customary, Mr. Ravel, to have hymns played at the beginning of the séance, 15:47.640 --> 15:49.640 to establish the proper frame of mind. 15:49.640 --> 15:51.640 Yes, Monsieur, that's true. 15:51.640 --> 15:53.640 You fool. 15:53.640 --> 15:54.640 What did you say? 15:54.640 --> 15:57.640 Oh, nothing, Monsieur, please continue. 15:57.640 --> 15:59.640 Start the gramophone, Ken. 15:59.640 --> 16:02.640 When you've done that, turn out the lights and that switch by the door. 16:02.640 --> 16:05.640 Then join the circle, clasp each other's hands tightly and don't let go unless... 16:05.640 --> 16:06.640 Unless what? 16:06.640 --> 16:09.640 Well, unless something gets me. 16:09.640 --> 16:11.640 Be careful, Monsieur. 16:11.640 --> 16:12.640 Go on, please, start the gramophone. 16:12.640 --> 16:14.640 All right, here goes. 16:18.640 --> 16:20.640 Now the lights, Ken, switch off the lights. 16:20.640 --> 16:23.640 Yes, yes, yes, there you are. 16:23.640 --> 16:25.640 It's pitch dark, I can't see my way back to the table. 16:25.640 --> 16:27.640 Here, Ken, here's my hand. 16:29.640 --> 16:30.640 Thank you, thanks. 16:30.640 --> 16:32.640 And mine on the other side, Mr. Blake. 16:32.640 --> 16:34.640 Thank you, I've got my bearings now. 16:34.640 --> 16:37.640 Are all of you clasping the hands of the next person? 16:37.640 --> 16:40.640 Then quiet and wait for what's going to happen. 16:45.640 --> 16:47.640 Ken, look. 16:47.640 --> 16:48.640 Look where? 16:48.640 --> 16:51.640 Over there, where Mr. Stevens is sitting. 16:51.640 --> 16:52.640 What about it? 16:52.640 --> 16:55.640 There's a luminous spot in the dark, about the size of a shilling. 16:55.640 --> 16:56.640 It's... 16:56.640 --> 16:58.640 Quiet, quiet, please. 17:03.640 --> 17:05.640 Did anything touch the back of your neck? 17:05.640 --> 17:06.640 No. 17:08.640 --> 17:09.640 What was that? 17:09.640 --> 17:11.640 It's Alex Stevens, I know it. 17:11.640 --> 17:13.640 This was not in the program, Madame. 17:13.640 --> 17:15.640 Break the circle and get those lights on. 17:15.640 --> 17:16.640 The luminous spot is still there. 17:16.640 --> 17:17.640 Oh, hurry, Ken. 17:17.640 --> 17:18.640 I can't see my way in the dark. 17:18.640 --> 17:20.640 I don't know which direction the lights are. 17:20.640 --> 17:21.640 Wait a minute. 17:21.640 --> 17:22.640 Here's the wall. 17:22.640 --> 17:24.640 If I go up along here, I ought to find the... 17:24.640 --> 17:26.640 Yes, yes, here it is. Lights. 17:26.640 --> 17:29.640 Quiet, quiet, silence, mademoiselle, please. 17:29.640 --> 17:31.640 What's wrong, Mr. Stevens? 17:31.640 --> 17:33.640 What's that sticking out of his chest? 17:33.640 --> 17:35.640 It's the handle of a dagger. 17:35.640 --> 17:38.640 And a good deal of blood has soaked through his coat, too. 17:39.640 --> 17:42.640 Well, Mr. Blake, will you turn off this gramophone? 17:42.640 --> 17:43.640 Yes, certainly. 17:43.640 --> 17:47.640 But you're not saying that Toby Stevens is dead. 17:47.640 --> 17:49.640 I'm afraid he is, my friend. 17:49.640 --> 17:51.640 That's a direct heart wound. 17:51.640 --> 17:56.640 Perhaps ten seconds of intense agony, and then the end. 17:56.640 --> 17:59.640 Oh, is the door still bolted from the inside? 17:59.640 --> 18:00.640 Yes. 18:00.640 --> 18:04.640 Then we are all alone, here, the four of us. 18:04.640 --> 18:08.640 This rash gentleman, one imagines, did not kill himself. 18:08.640 --> 18:10.640 He's too well tied up. 18:10.640 --> 18:13.640 I know who killed him, Mr. George Ravel. 18:13.640 --> 18:15.640 You did, with luminous paint. 18:15.640 --> 18:18.640 I killed him, mademoiselle, with luminous paint? 18:18.640 --> 18:20.640 I mean, that was part of the trick. 18:20.640 --> 18:21.640 You tied him up. 18:21.640 --> 18:23.640 You were the only one who touched him. 18:23.640 --> 18:25.640 And? What of that, mademoiselle? 18:25.640 --> 18:27.640 Luminous paint doesn't show up in the light. 18:27.640 --> 18:29.640 You smeared a little of it on his coat. 18:29.640 --> 18:32.640 That showed you exactly where to strike in the dark. 18:32.640 --> 18:34.640 I commend your good sense, mademoiselle. 18:34.640 --> 18:38.640 But there are two excellent reasons why I had nothing to do with it. 18:38.640 --> 18:41.640 The first reason I must keep to myself, 18:41.640 --> 18:44.640 but the second reason can easily be proved. 18:44.640 --> 18:45.640 Well, what is it? 18:45.640 --> 18:48.640 Well, up to the time that man screamed, 18:48.640 --> 18:50.640 you yourself were holding my right hand, 18:50.640 --> 18:53.640 and Madame Hester was holding my left hand. 18:53.640 --> 18:55.640 Did either of you let go at any time? 18:55.640 --> 18:56.640 No. 18:56.640 --> 18:59.640 No, that is, I didn't. 18:59.640 --> 19:00.640 What about you, Aunt Hester? 19:00.640 --> 19:01.640 No, no, Marjorie did. 19:01.640 --> 19:02.640 I didn't let go, either. 19:02.640 --> 19:03.640 He never moved. 19:03.640 --> 19:04.640 Hold on. Wait a minute. 19:04.640 --> 19:06.640 Well, monsieur, I'm sorry. 19:06.640 --> 19:10.640 I was holding Marjorie's hand on one side and her ants on the other, 19:10.640 --> 19:12.640 and they didn't move, either. 19:12.640 --> 19:14.640 Nobody let go or left the circle. 19:14.640 --> 19:15.640 That's true. 19:15.640 --> 19:18.640 Consequently, none of us could have killed Toby Stevens. 19:18.640 --> 19:19.640 Yes, it is true. 19:19.640 --> 19:21.640 Somebody must have sneaked in here. 19:21.640 --> 19:22.640 Oh, no. 19:22.640 --> 19:25.640 As you said yourself, the door is bolted on the inside. 19:25.640 --> 19:27.640 Then who the devil did kill him? 19:27.640 --> 19:29.640 Well, that's the question. 19:29.640 --> 19:32.640 Has anybody ever seen that dagger before? 19:32.640 --> 19:33.640 No. 19:33.640 --> 19:36.640 It looks like one of those curio things you buy in the shops. 19:36.640 --> 19:41.640 Yes, and with the design of wooden scrollwork on a handle, 19:41.640 --> 19:44.640 no fingerprints will show. 19:44.640 --> 19:48.640 Nothing else except some music instruments, 19:48.640 --> 19:53.640 a tambourine, an accordion, and a speaking trumpet. 19:53.640 --> 19:56.640 You know, I blame myself for this. 19:56.640 --> 19:57.640 You ought to. 19:57.640 --> 19:58.640 Why? 19:58.640 --> 19:59.640 Because you killed him. 19:59.640 --> 20:00.640 Don't ask me how. 20:00.640 --> 20:04.640 But I know why. 20:04.640 --> 20:06.640 Indeed, mademoiselle. 20:06.640 --> 20:07.640 You found my motive. 20:07.640 --> 20:08.640 Yes, yes, I have. 20:08.640 --> 20:11.640 You've got Aunt Hester fully believing in you now, haven't you? 20:11.640 --> 20:12.640 Easy, Marjorie. 20:12.640 --> 20:14.640 In another minute, you'll be talking about forces and elementals 20:14.640 --> 20:15.640 and heaven knows what. 20:15.640 --> 20:17.640 You were saying it was a spirit hand that killed Mr. Stevens 20:17.640 --> 20:19.640 because nobody else could have. 20:19.640 --> 20:20.640 Please, Marjorie, brace up. 20:20.640 --> 20:22.640 Someone's got to send for the police. 20:22.640 --> 20:24.640 Why don't you send for the police, Ken? 20:24.640 --> 20:26.640 Couldn't you help us there? 20:26.640 --> 20:28.640 Help you? How? 20:28.640 --> 20:31.640 Mr. Stevens said you knew the heads of the Sûreté. 20:31.640 --> 20:32.640 He said you knew this man, Flamand, 20:32.640 --> 20:34.640 who was supposed to be the greatest detective in France. 20:34.640 --> 20:37.640 Oh, but this isn't French territory. 20:37.640 --> 20:40.640 Monte Carlo is the independent state of Monaco. 20:40.640 --> 20:42.640 I'm sorry, Marjorie. 20:42.640 --> 20:44.640 Ordinarily, I might have helped. 20:44.640 --> 20:45.640 You mean you won't help us? 20:45.640 --> 20:48.640 I'm sorry, Marjorie. I can't. 20:48.640 --> 20:50.640 Then I've got to help myself. 20:50.640 --> 20:53.640 George Revelle, you killed Mr. Stevens. 20:53.640 --> 20:54.640 But how? 20:54.640 --> 20:58.640 Yes, how? 21:03.640 --> 21:08.640 24 hours later, 24 hours of blind puzzling. 21:08.640 --> 21:12.640 In the railway station at Nice, nine miles from Monte Carlo, 21:12.640 --> 21:15.640 the night express for Paris is already underway. 21:15.640 --> 21:20.640 The guard has blown his signal and the great wheels grind. 21:20.640 --> 21:22.640 A young man, hatless and worried, 21:22.640 --> 21:25.640 pushes through the crowd past the already moving train. 21:25.640 --> 21:27.640 No, sir. It's broken. You're too late. 21:27.640 --> 21:29.640 Too late? Nothing. I'm getting aboard this train. 21:29.640 --> 21:31.640 Take care, sir. Take care. 21:31.640 --> 21:34.640 I'm sorry to have caused you any trouble, guard. 21:34.640 --> 21:37.640 But do you happen to know whether... 21:37.640 --> 21:38.640 Marjorie! 21:38.640 --> 21:41.640 Ken Blake! What are you doing on this train? 21:41.640 --> 21:43.640 Exactly the question I wanted to ask you. 21:43.640 --> 21:45.640 Walk along the corridor with me, will you? 21:45.640 --> 21:48.640 All right. 21:48.640 --> 21:50.640 Marjorie, you little idiot. 21:50.640 --> 21:52.640 What's the idea of running away? 21:52.640 --> 21:55.640 If it's any of your business, Mr. Blake, I'm not running away. 21:55.640 --> 21:57.640 I'm merely going to Paris. 21:57.640 --> 21:59.640 You were told to stay in Monte Carlo. 21:59.640 --> 22:01.640 Don't you know you can land in jail for this? 22:01.640 --> 22:03.640 They'll put you in jail too, won't they? 22:03.640 --> 22:05.640 Yes, I suppose so. 22:05.640 --> 22:07.640 But what's the idea of going to Paris? 22:07.640 --> 22:10.640 First of all, I had to get Aunt Hester away from that man Revelle. 22:10.640 --> 22:12.640 She really thinks he can call up ghosts now. 22:12.640 --> 22:14.640 Is your aunt on this train? 22:14.640 --> 22:16.640 Yes, in that compartment there. 22:16.640 --> 22:18.640 Second, I'm going to Paris for some real help. 22:18.640 --> 22:20.640 I'm going to the Suratay. 22:20.640 --> 22:22.640 I'm going to see this man, Flamand. 22:22.640 --> 22:25.640 You won't find Flamand in Paris, Marjorie. 22:25.640 --> 22:28.640 And you'll certainly never get him to arrest Georges Revelle. 22:28.640 --> 22:30.640 Oh? And why not? 22:30.640 --> 22:35.640 Because, my dear idiot, Georges Revelle is Flamand. 22:36.640 --> 22:38.640 What are you saying? 22:38.640 --> 22:41.640 The man who calls himself Revelle is really Flamand, 22:41.640 --> 22:43.640 the head of the whole French Detective Bureau. 22:43.640 --> 22:46.640 He made me promise not to tell anybody. 22:46.640 --> 22:49.640 Oh, then that's why you've been looking so guilty for two days. 22:49.640 --> 22:52.640 Yes, I tried to tip you off today, but the police were with us all the time. 22:52.640 --> 22:54.640 So he is a fake spiritual medium. 22:54.640 --> 22:56.640 Mr. Stevens was right about that. 22:56.640 --> 22:59.640 And I still say I'm right about the other thing. 22:59.640 --> 23:01.640 Whoever he is, Revelle killed Mr. Stevens. 23:01.640 --> 23:02.640 But how and why? 23:02.640 --> 23:05.640 Oh, I don't know, this alleged detective. 23:05.640 --> 23:08.640 Did he tell you why he was masquerading as a medium in Monte Carlo? 23:08.640 --> 23:12.640 No. All I know is that we're in one sweet mess. 23:12.640 --> 23:14.640 We've left town without permission. 23:14.640 --> 23:17.640 They'll probably stop the train and send us back in a patrol wagon. 23:17.640 --> 23:20.640 Oh, no, no, no, my friend. That won't be at all necessary. 23:20.640 --> 23:21.640 Revelle? 23:21.640 --> 23:25.640 Yes, mademoiselle. Revelle or Flamand. 23:25.640 --> 23:27.640 Well, since you know me as Revelle, call me that. 23:27.640 --> 23:29.640 You knew that I was on this train? 23:29.640 --> 23:30.640 Oh, naturally. 23:30.640 --> 23:32.640 Look here, old man. 23:32.640 --> 23:36.640 I kept quiet about you because you swore it was a matter of life and death. 23:36.640 --> 23:38.640 But will you answer a couple of questions now? 23:38.640 --> 23:39.640 Oh, with pleasure. 23:39.640 --> 23:41.640 Why did you pose as a medium? 23:41.640 --> 23:44.640 Because the Monarchic government employed me to trap a murderer. 23:44.640 --> 23:47.640 So I had to work out, you see, undercover. 23:47.640 --> 23:50.640 All right. Why was Toby Stevens killed? 23:50.640 --> 23:53.640 Stevens was killed because he was a blackmailer. 23:53.640 --> 23:54.640 A blackmailer? 23:54.640 --> 23:56.640 Yes, mademoiselle. Does that surprise you? 23:56.640 --> 23:59.640 Yes. Oh, yes, of course. Very much. 23:59.640 --> 24:03.640 I tried to warn Stevens, but the fool wouldn't listen. 24:03.640 --> 24:07.640 And then, well, I wasn't quick enough. 24:07.640 --> 24:11.640 Stevens was murdered, of course, by one of us four in the séance room. 24:11.640 --> 24:13.640 Well, that's impossible. 24:13.640 --> 24:16.640 Hmm? Impossible? Oh, no. 24:16.640 --> 24:20.640 The trick was baffling because of its simplicity. 24:20.640 --> 24:22.640 I'm sure you killed him. 24:22.640 --> 24:24.640 One moment, mademoiselle. 24:24.640 --> 24:29.640 Let me show you what I mean by trick baffling because it is so simple. 24:29.640 --> 24:34.640 Take, for example, the pencil outlet drawn on a paper around the medium shoes. 24:34.640 --> 24:37.640 Did Stevens tell you how I did that? 24:37.640 --> 24:41.640 No. On this train two nights ago, he started to tell us... 24:41.640 --> 24:44.640 Then he just stopped in the middle of it and left. 24:44.640 --> 24:48.640 You see, the medium leaves his chair. 24:48.640 --> 24:54.640 Well, he makes tambourines for rattle and ghost forms appear. 24:54.640 --> 24:57.640 Yet the pencil outline is not disturbed. 24:57.640 --> 24:59.640 Now, how does he manage it? 24:59.640 --> 25:01.640 Well, how does he manage it? 25:01.640 --> 25:05.640 Well, quite easily. He returns to his chair. 25:05.640 --> 25:08.640 He turns over the two pieces of paper. 25:08.640 --> 25:15.640 He takes another pencil and draws an outline of his shoes on the reverse side of the paper. 25:15.640 --> 25:17.640 Well, you look at it. 25:17.640 --> 25:19.640 And imagine it's the same outline we drew. 25:19.640 --> 25:23.640 Precisely. So easily our people misled. 25:23.640 --> 25:26.640 And it was the same way with a murder. 25:26.640 --> 25:28.640 But there couldn't have been any trick about the murder. 25:28.640 --> 25:31.640 None of us left the circle. 25:31.640 --> 25:34.640 We were all clasping hands when we heard that scream. 25:34.640 --> 25:35.640 Don't you agree? 25:35.640 --> 25:37.640 Oh, yes, I agree. 25:37.640 --> 25:39.640 I can't stand this any longer. 25:39.640 --> 25:41.640 When we heard Mr. Stevens utter that horrible scream... 25:41.640 --> 25:45.640 What makes you think it was Stevens who uttered that scream? 25:45.640 --> 25:47.640 I beg your pardon. 25:47.640 --> 25:50.640 What makes you think it was Stevens who screamed? 25:50.640 --> 25:52.640 Well, or wasn't it? 25:52.640 --> 25:54.640 Oh, you assumed it, yes. 25:54.640 --> 25:56.640 We all assumed it. 25:56.640 --> 26:00.640 But up to that time, Stevens wasn't even hurt. 26:00.640 --> 26:02.640 Wasn't hurt? 26:02.640 --> 26:07.640 You see, the source of sound cannot be located in the dark. 26:07.640 --> 26:11.640 It was the murderer who uttered that appalling cry. 26:11.640 --> 26:15.640 In a few seconds of darkness, before the lights went on, 26:15.640 --> 26:21.640 the killers simply leaned across and drove that dagger into Stevens' chest. 26:21.640 --> 26:22.640 And you proved that? 26:22.640 --> 26:27.640 Yes. If Stevens had been hit at the time of the scream, 26:27.640 --> 26:31.640 blood would have blotted out the spot of luminous paint. 26:31.640 --> 26:36.640 Yet Marjorie Gray saw the paint shining after the scream. 26:36.640 --> 26:38.640 That's true, Marjorie. I heard you say so. 26:38.640 --> 26:40.640 You put the luminous paint there, Ravel. 26:40.640 --> 26:42.640 You were the only person who touched him. 26:42.640 --> 26:46.640 Oh, no. There was one other person who touched him. 26:46.640 --> 26:47.640 Who was it? 26:47.640 --> 26:53.640 Another person in full sight of you said Stevens had spilled broth on his coat 26:53.640 --> 26:56.640 and swabbed at his chest with a handkerchief. 26:56.640 --> 26:57.640 You mean... 26:57.640 --> 27:00.640 I mean, of course, the real murderer. 27:00.640 --> 27:02.640 Your Aunt Hester. 27:03.640 --> 27:07.640 Yes, Marjorie. Your Aunt Hester. 27:07.640 --> 27:08.640 Aunt Hester! 27:08.640 --> 27:09.640 Keep back, all of you. 27:09.640 --> 27:12.640 Oh, so you managed to find the revolver. 27:12.640 --> 27:15.640 Marjorie, I poisoned your Uncle Paul. 27:15.640 --> 27:18.640 I poisoned my husband, and Alex Stevens knew it. 27:18.640 --> 27:21.640 You can't get away, Madame. Keep away from that door. 27:21.640 --> 27:23.640 I never believed in spiritualism. 27:23.640 --> 27:25.640 I let myself be influenced by a medium 27:25.640 --> 27:28.640 because Alex Stevens would try to stop it. 27:28.640 --> 27:31.640 He was getting money out of me. He wanted no other influence. 27:31.640 --> 27:33.640 Don't open that door, Madame. 27:33.640 --> 27:34.640 But I am opening it. 27:34.640 --> 27:35.640 Aunt Hester, don't! 27:35.640 --> 27:37.640 I told you I wasn't a fool as I looked. 27:37.640 --> 27:39.640 I had the knife in my handbag. 27:39.640 --> 27:41.640 Stop her, Kim. Stop her! 27:41.640 --> 27:42.640 No! 27:44.640 --> 27:46.640 Well, Mademoiselle... 27:47.640 --> 27:49.640 She has committed many crimes, 27:49.640 --> 27:52.640 but now she has paid for them all. 27:52.640 --> 27:55.640 THE END 28:09.640 --> 28:12.640 And so closes the moment of darkness, 28:12.640 --> 28:14.640 starring Peter Lorre, 28:14.640 --> 28:15.640 Wendy Berry, 28:15.640 --> 28:17.640 with George Zuko. 28:17.640 --> 28:19.640 Tonight's tale of... 28:19.640 --> 28:21.640 Suspense. 28:32.640 --> 28:35.640 This is your narrator, the man in black, 28:35.640 --> 28:37.640 who conveys to you Columbia's invitation 28:37.640 --> 28:42.640 to spend this half hour in suspense with us again next Tuesday, 28:42.640 --> 28:45.640 when Agnes Moorhead and Ray Collins 28:45.640 --> 28:48.640 will star in a study in terror 28:48.640 --> 28:52.640 titled The Diary of Sophronia Winter. 28:56.640 --> 28:59.640 The producer of these broadcasts is William Spear, 28:59.640 --> 29:01.640 who with Ted Bliss, the director, 29:01.640 --> 29:06.640 Wilbur Hatch, and Hushan Marowick, conductor and composer, 29:06.640 --> 29:09.640 and John Dixon Carr, the author, 29:09.640 --> 29:11.640 collaborated on tonight's... 29:11.640 --> 29:17.640 Suspense. 29:17.640 --> 29:37.640 This is the Columbia Broadcasting System.