Suspense.
This is the Man in Black, here again to introduce Columbia's program, Suspense.
Tonight heading our Hollywood cast are two noted leading men.
One Mr. Preston Foster, a star long established, the hero of many an adventurous film, the
latest, the 20th Century Fox production, Guadalcanal Diary.
The other Mr. Dane Clark, a newcomer to the screen, whose auspicious debut in Action in
the North Atlantic has made him warmly welcome in these parts.
Mr. Clark appears tonight as a young man who awoke one morning to find himself in a very
serious jam.
And Mr. Foster is the San Francisco homicide detective who is willing to help his friend,
up to a point.
The play called The Singing Walls by Robert L. Richards, adapted from a story by Cornell
Woolrich, is tonight's tale of Suspense.
If you've been with us before, you will know that Suspense is compounded of mystery and
suspicion and dangerous adventure.
In this series are tales calculated to intrigue you, to stir your nerves, to offer you a precarious
situation and then withhold the solution until the last possible moment.
And so it is with the performances of Preston Foster as Detective Denny Sullivan and Dane
Clark as young Tom Cochran, we again hope to keep you in Suspense.
Have another.
No, drink it all.
There's lots more.
So a guy named Joe brought you, huh?
You come up here from Joe's place?
What's that?
Oh, you don't even know where Joe lives, huh?
Me?
No, I don't know either.
I never seen Joe before in my life.
How you feeling now, kid, huh?
Sure, have a little more.
It's good for what ills you.
Ah, that's nothing.
You're all right.
Sure, I know.
Let's get out of here.
I know a better place.
Come on, come on, I'll help you.
No, that's not a window.
It's bricked up.
They put a building up right behind this one.
That's right.
It comes right out of the walls.
Singing walls.
Yeah.
We got hot and cold running water here and singing walls.
Have another.
Sure, bottoms up.
That's the idea.
Make yourself right at home.
Hey, lie down.
Lie down and take a little snooze.
I'll be right back.
What's the matter?
Have a little trouble in here while I was gone?
What's blood?
Sure, blood.
All over your shirt.
Oh him?
Oh, he's all right.
Just put him in the closet.
Lock the door.
Like that, see?
Now you put the key right in your pocket so you'll know just where to find it.
Don't worry, he'll be all right.
No, I'm not going anyplace.
I'll be back in just a minute.
Here.
Have another.
I'll be back in just a minute.
No.
No, no.
Let me out.
Let me out of here.
Tommy.
Tommy, wake up.
What?
What is it?
I've been knocking at your door the longest time.
You were having a dream or something.
Yeah, I...
What time is it?
It's way afternoon.
You came in pretty late.
Did I?
Toss me in my bathroom, will you, sis?
Don't you know what time you got in?
Not exactly.
Oh, Tommy.
I know it's tough not having a job all these months.
And I know you've tried.
But this isn't doing you any good.
I know, sis, but last night was the first time in a month in any way.
It was different.
I had a few drinks, but it was different.
Something happened.
What do you mean something happened?
Well, it wasn't just the drinks.
They were doped or something.
Oh, Tommy.
No, look, sis, it's not just an alibi.
I don't remember where I was or anything.
Only just now I seem to be dreaming about it.
About what?
About last night.
I could hear you banging on the door all the time I was dreaming.
And then it seemed as though I wasn't dreaming at all, that I was remembering a lot of things.
What sort of things?
It was all mixed up.
There was a guy with a kind of a frog voice that kept giving me drinks.
And I was sort of floating.
Then there was a place that music came out of the walls.
There was something about blood on my shirt.
The key to a closet.
But Tommy, you're shaking like a leaf.
Yeah.
It was a pretty scary dream.
If it was a dream.
What you need is some good hot coffee.
Now hurry up and get dressed and come on downstairs.
Here, I'll get you out a clean shirt.
I'd better wear the old one.
I've only worn it once.
But it's all messy.
Yeah, it does look kind of...
Mildred.
What?
My shirt.
Give it to me.
Now what's the matter?
Look, Mildred, that's blood.
Well, I guess it is.
I know it is.
Just like it was in the dream.
Oh, Tommy, don't be so silly.
You must have hurt yourself somewhere.
But I didn't.
Look, there isn't a scratch on me.
Well, then you got in a fight.
Maybe.
What else could it have been?
Well, that's what I'm trying to think.
Well, stop thinking and hurry up and get dressed.
My goodness, look at the way you threw your clothes around last night.
Trousers on the floor.
Here.
Oh dear, everything's falling out of the pocket.
I'll pick it up.
You get dressed.
Thanks.
You didn't come home with much, did you?
Well, I didn't have much to start with.
Well, I'll put it all up here on the bureau.
25 cents in change and your keys.
Now hurry.
What did you say?
I said hurry.
No, no, no.
Before that, what did you say?
I said I'd put your change and your keys up in the bureau.
Keys?
Yes.
Mildred, I only have one key.
Well, there are two there now.
I know.
Let me see them.
Here.
One's the key to the front door.
Yeah, but the other one.
It doesn't belong to any door in this house.
It's the key to the closet.
What closet?
Last night it wasn't a dream.
Tommy, what are you talking about?
Mildred, you better call Denny right away.
But he's on duty.
I know, but get him over here right away.
Tommy, what is it?
Last night, I think I killed a man.
Let me look at your eyes.
Listen, Denny, I...
You were doped all right.
Well, I didn't know what it was.
Why remind that now?
How much do you remember?
Look, Denny, I hated to bring you in on this and I...
I didn't know who else to go to.
Skip it.
What's the use of having a brother-in-law who's a cop if he can't help you once in a while?
How much do you remember?
Well, just what I've told you.
Just like it wasn't a dream, only it wasn't a dream.
You see, there was this guy, Joe, just some guy I'd known from someplace.
I don't know where.
See, I met him on the street and he took me to the party.
And then the guy with the frog voice began giving me drinks.
And then everything got confused.
And I was in another place with the singing walls and some harmonica playing or something.
I don't even know whether it was in the same apartment even, but that's where the closet was.
What about the guy you...
The dead guy.
Well, at first he wasn't there and then he was.
He was sort of slumped over in a big armchair.
Then frog voice put him in the closet.
That's what I remember.
And then he left.
And then I suddenly seemed to realize that the guy in the closet was dead and that's why I got out of there.
I don't know how.
You don't have any idea where it was?
No, no, I don't even know where the party was.
You'd never seen any of these people before?
Except this guy, Joe, who took me to the party.
And that's all I know about him, Denny.
Just a guy named Joe that I knew by sight from someplace.
I don't know where or his last name or anything.
Not much to go on, is there, kid?
No, not much.
A guy named Joe singing walls in a closet, another guy with a froggy voice...
But I'd recognize him or his voice if I ever saw him again.
Tommy, you're in a jam.
The way it looks right now, there's a dead man in a closet somewhere in this town.
And you killed him.
Oh, but Denny, I...
If we find him before somebody else does, maybe we can figure out what did happen.
The way it stands now, you're it.
I know.
We haven't got much time, either.
The place is an apartment.
They probably would have found the body already, and I'd know about it.
It's a hotel.
They check the guests out by six o'clock.
That gives us about four hours.
Four hours.
For the murderer to find the guy he murdered.
It's kind of crazy, isn't it?
Tommy, you know how I feel about Mildred.
You know I don't exactly hate you, either.
You know I'll do everything in the world I possibly can to clear you.
Sure, Denny, I know.
But I'm a cop, Tommy.
If you did it, you know I'm gonna turn you in, don't you?
Sure. I know that, too.
Okay, kid.
Now, let's start from the beginning.
What about this Joe?
I... I don't know anything about him.
You know his name, you know his face.
Think, Tommy, think.
I'm trying to.
If I could only remember.
So a guy named Joe brought you, huh?
You come up here from Joe's place?
What's that?
Oh, you don't even know where Joe lives, huh?
Me?
No, I don't know, either.
I never seen Joe before in my life.
You still don't get it, Tommy?
No, no, I don't.
You told me where Joe is.
I have?
Sure, you see the sign over that saloon?
I don't know.
Yeah, it's Joe's place.
But how do you know that...
Tommy, you were playing with bad boys last night.
And this is where bad boys hang out, among other places.
It's got a name.
It's run by a guy named Joe.
He minds his own business as far as we know,
but his customers don't.
So?
It all clicked when I remembered you said the guy
with the frog voice asked you if you came up there
from Joe's place.
He didn't mean where Joe lived or anything.
He meant this place.
He thought maybe you were one of the boys.
Yeah, but how did I ever meet this Joe?
I've never been here in my life.
He runs another joint, a respectable saloon.
A sort of cover, about three blocks from our house,
the town tavern.
Hey, that's right.
Remember?
Joe may or may not be in on this.
Frog voice made a big play to you that he didn't know Joe.
Never seen him before in his life.
His customers always cover him.
It's better for them that way.
If my hunch is right, Joe is going to be plenty surprised
when he sees you walk in there.
Me?
Walk in there?
Don't worry.
Walk in and sit down at the bar.
If you're not out in a couple of minutes,
I'll know you recognize the guy and we're on the right track.
I'll come in as though I didn't see you
and go into the phone booth.
And then what?
Then we'll see.
Okay, kid?
Okay.
Oh, one thing.
If he offers you a drink on the house, take it.
Sure.
Oh, here goes.
What'll it be, Mac?
Beer.
Oh, it doesn't matter.
Suit yourself.
Well, well, what do you know?
Tell me.
Hiya, Joe.
Hey, what are you doing down in this part of town, kid?
Oh, I had to come down to see a guy.
I didn't know you had this place.
Oh, just a little sideline?
It's where our place started, you know.
Sure, I know.
One beer, that'll be ten cents.
Hey, no, no, none of that.
You gotta have one on me, kid.
A real drink.
What'll you have?
Well, I...
Scotch?
Okay.
Scotch for the gentleman, Larry.
The very best.
You understand?
Oh, yeah, sure.
I'll take rye.
Hey, Tommy.
There was some party last night, huh?
Party?
Yeah.
Hey, where'd you disappear to?
I was looking all over for you.
You know, that's a funny thing I don't even remember.
I get it.
Well, a guy has to cut loose once in a while, huh?
Yeah, yeah.
One Scotch, the very best.
One rye.
Well, here's to you.
Wait a minute.
Hey, who are you?
Uh, uh, this is my brother-in-law.
Denny, this is Joe.
Say, you must have got those drinks mixed up.
You never drink Scotch, Tommy.
You only drink rye.
Yeah, that's right.
Yeah, you take the rye and give Joe the Scotch,
and I'll take your beer.
I don't like Scotch.
I never touch it.
Okay, I'll take it.
Thanks.
By the way, Joe, you haven't got a little bottle
I could pour this into, have you?
Say, who do you think you're kidding, bud?
I'm from headquarters.
There's my badge.
Oh, oh, now wait a minute.
I didn't know that you...
I suppose you don't know what I'd find in this drink
if I took it down to be analyzed either.
Hey, now, look, I don't want any trouble.
I never had any.
They can tell you down at headquarters.
Of course, it's a matter of dough.
You can't buy your way out of this one, chum.
I want talk, and I want it quick.
What kind of talk?
Where'd you take Tommy last night?
It was just a little party, a private party.
Yeah, and they slipped things in people's drinks there, too.
Now, I don't know anything about that.
Now, honestly, I hardly know the people.
Who's the guy with the frog voice?
Voice?
I don't know any guy with a frog voice.
Now, look, I told you I don't want any trouble.
They can tell you that down at headquarters.
Listen, there's a narcotics wrap in this for somebody,
and it could be you.
Where was the party?
Courtney Square West, number 75.
Some people named Sorelle...
Come on, Tommy.
You're coming, too, Joe, just in case.
Sorelle, A.J.
Does this look like the place, Tommy?
Well, it looks like it.
Could be.
Everything has been so confused since last night.
Well, this is it.
It better be.
Mrs. Sorelle?
Yes?
I'm from police headquarters.
Oh?
Mind if we come in and look around?
I'm... no.
Come on, Tommy.
You, too, Joe.
By the way, you two know each other?
Oh, his face familiar.
I think he's been here on a couple of parties.
We kind of get crazy parties.
All kinds of people wander in and out.
Is that what the trouble is?
It might be.
You know anyone with a froggy voice?
No.
Not that I can remember.
Okay.
Let's look at the apartment.
Well, this is the hall, of course.
And here's the living room.
Joe, you stay here in the hall.
And you better be here when I get back.
I'll be here.
So this is the living room.
Uh-huh.
This is the bedroom.
Looks kind of messy now.
See anything?
No.
Over here's the kitchenette.
I see.
That's about all there is to it.
What's that room there?
Oh, that's just a sort of store room.
Well, I think we'd better look at it, though.
Come on.
All right.
You...
There.
See?
Nothing much in it.
An old armchair and a bed.
We use it as a guest room sometimes.
Denny, that closet.
Oh, there's nothing in there.
Just a lot of old odds and ends.
Open it.
Well, it's locked.
All right.
Unlock it.
I'm not sure where the key is.
And, lady, you better find it.
Well, I'll try.
Be right back.
Is this it, Tommy?
Oh, there was a closet like that.
And a window just over there where that one is.
And the armchair and the bed.
Don't you remember?
I...
I can't, Denny.
Let me have that key.
Wait a minute.
Here she comes.
I think this is it.
Try it.
Sort of stick sometimes.
I'll help you.
Here she comes.
See?
Just a lot of old junk.
Uh-huh.
Oh, come on, Denny.
You sure?
Sure, I'm sure.
Come on.
Well, I guess that's all, Mr. Sorrell.
Thanks for showing us around.
That's all right.
Hello, Joe.
Still here, huh?
You don't mind if I stay here and visit a while, do you?
No, I guess not.
Well, good-bye.
Bye.
Thanks again.
Well, good-bye and good luck, Hopper.
I'm sorry, Denny.
That was a try.
Well, what do we do now?
I don't know, Tommy.
I don't know.
Think, Tommy.
Think.
We found Joe.
Now what about those singing walls?
No, that's what's over there.
That's right.
It comes right out of the walls.
We got hot and cold running water here
and singing walls.
Denny.
Yeah?
Listen.
What?
That's it, the singing walls, the music I heard last night.
You sure?
Sure, I remember the piece, the harmonica and everything.
It's coming from right around here someplace.
Denny, it's coming from their apartment, the one we just left, Sorrell's.
Well, come on.
This must be the place, Tommy.
The closet and now the music.
They must have been pulling a fast one on us.
Well?
All right, quit stalling.
Come on, Tommy.
Stalling?
You heard me.
You two brushed us off pretty slick, didn't you?
Hey, now listen, I told you I don't know anything about this, but if you...
Where's the music coming from?
Well, from the radio.
The radio?
Yes, I turned it on in the kitchen just now when I started to fix dinner.
It's a little portable.
From here, see?
Okay.
I don't get it.
What did you mean by...
Skip it.
Well, Tommy, here we go again.
I don't care.
That was the music I heard.
And that's the same number
and it sounds like the same band.
Hey, wait a minute.
Now what?
Where's your phone?
On the desk.
Tommy, go and see what station that's coming over.
All right.
WBTA.
It's a local station.
Thanks.
Hello?
Operator?
Get me station WBTA.
A radio station.
I don't know what the number is.
Just get it.
This is a police call.
Thanks.
May be wrong, Tommy, but I got a hunch.
Hello?
WBTA?
What's that band you've got on now?
I don't care if it's an electrical transcription
or a Mickey Mouse cartoon.
What's that guy's name?
What?
Turn off that radio.
Now, what was that guy's name?
Yeah.
Well, where can we get a hold of this guy?
Where does he hang out?
I see.
Five nights a week, huh?
That include tonight?
Thanks.
He's a small-time band leader, Tom.
Armonica Hall and his harmoniers, he calls himself.
And he plays at a place called the Silver Slipper
out in the concourse.
Come on.
Coming.
You better get on that phone, Joe.
You dumb, you would have to turn on that radio.
There's the Silver Slipper right over there.
Okay, let us out here.
Right.
There you are.
Thank you, sir.
Look familiar to you around here, Tommy?
No.
Oh, I'm afraid it's a bum's steer, Denny.
Look, kid, here's the way I figure this music deal.
You may have heard a recording of this band
the way you did a little while ago.
But there's a good chance you actually heard the guy himself.
You know what time it was when you heard it?
Well, it was just night, that's all I know.
All right.
They don't make recordings often of unknown bands.
And this Silver Slipper isn't on the air.
So maybe you were out here someplace and heard the band itself.
Maybe.
I know it's kind of a long shot, kid,
but right now it's the best we got.
Let's case the joint.
Okay.
Don't look like there are any rooms with closets in a Silver Slipper.
Say, what about that crummy-looking hotel next to it?
Yeah, I was just thinking.
If you were in a room in a closet and all that,
and you really did hear this band,
that hotel's the only place you could have been.
Oh, I wish I could remember something.
The shape you were in, you probably signed your own name, too.
Come on.
By the way, what time you got?
Uh, 10 to 6.
10 to 6.
Deadline's pretty close, kid.
Yeah.
This better be right.
What a dump.
I can only remember.
Well, there's a clerk, we'll see.
Say, you got a guy named Tom Cochran here?
Tom Cochran? I don't know.
It's all right. We're friends of his.
Let's see. When did he register?
Last night.
Sure, here it is. Tom Cochran and Ben Doyle, room 209.
I don't think they're in now.
No?
No. I've been ringing to see if they were going to check out by 6.
I was just going to send somebody up.
Well, they were out at a big party last night.
Probably haven't pulled themselves together yet.
As a matter of fact, that's where we came to see them.
Should I ring again?
No, we're sort of surprised.
Okay, right up those stairs.
But they've got to be out by 6 or pay for another night.
We'll take care of that. Let's go, Tom.
Denny, did you see that handwriting on the register?
Yeah.
It was mine all right.
This is it, Tommy. One way or another.
Yeah.
Here's 209.
Don't put your hand on that doorknob.
Fingerprints. Use your handkerchief.
Slak.
I got some keys.
It's an easy lock.
Here we go, kid.
Denny, this is it.
Close that door.
Yeah. There's a closet.
Give me the key.
Here, you better hold my gun on that door just in case.
All right.
Denny, look out!
He was just falling. He's dead.
Oh, gee, this is awful.
You remember now?
Yeah.
But I can't put it together.
Let's have a look.
Oh.
Stabbed.
Here's his driver's license.
Benjamin Doyle.
What's going on, Dad?
Give me it.
Hello?
Oh, yeah, we found him, all right.
Oh, they're going to keep the room for another night.
No, no, no. There's not a thing we want.
We're in for it now, kid.
Denny, look on the floor over there.
Class knife. Covered with blood.
That's what did it, all right.
Yeah.
Hey.
Yeah, yeah, I know. It's mine.
Tommy, why didn't you tell me?
Honest, Denny, I didn't even know I'd lost it until I just saw it there now.
Fingerprints all over.
It's clear as other than made in ceiling wax.
Right-handed, aren't you, Tommy?
Yeah, right-handed.
Let me see your right hand.
Doesn't take an expert to read these.
Those prints are yours, all right, kid.
Yeah, I guess they are.
And you still don't remember?
Honest, Denny, I don't.
Can you think of any other explanation?
No. There's the guy with the frog voice,
but I must have just dreamed them up.
I don't know.
Well, kid, I guess this is it.
You did all you could, Denny. Don't feel bad.
We can plead insanity or something.
Maybe we can prove you were doped.
Maybe.
You better call headquarters, Denny. Let's get it over.
All right.
So where are you going?
I don't have a phone from here. The clerk will listen in.
It's no use getting all the wolves on us before we have to.
Aren't you afraid that I'll...
No, no.
Oh, I won't.
I just haven't sent a detective car.
You won't have to go in the wagon.
Thanks.
Better let me have my gun.
Sure.
I'll be back.
Lie down for a couple of minutes.
You look kind of sick.
I am.
That's the idea. Take a little snooze.
I won't be gone long.
Get a little sleep. Do your good.
I'll be right back.
Have a little trouble in here?
Blood.
Sure, blood.
All over your shirt.
Oh, he's all right.
Put him in the closet. Lock the door.
Key right in your pocket.
I'm not going anyplace.
Back in just a minute.
Sure, I'll be right back.
Be right back.
Here he is.
You?
Yeah, me.
Hey, what are you going to do with him, Froggy?
Get him in the other room until his copper friend misses him
and starts looking.
Now listen, I don't want to be in anything like this.
Shut up.
You're in it up to your neck.
Come on, you. Get up.
Okay.
Get going.
Up to your neck.
Get going. Up to your neck.
Open the other door, Joe.
Sure.
Get in there.
That's the guy, Frog?
Yeah.
Listen, Froggy, this don't look so good.
There was people who knew you were getting ready to give it to Doyle.
Sure, sure. That's why I framed this guy.
All the trouble I went through,
doped him and brought Doyle in there when he was out.
Planted the key on him, bloodied him up,
put the knife in his hand.
I still don't see how he ever came to in time.
Yeah, but he did.
So what?
We frame him again.
Music?
You like music, don't you?
You're pretty sweet about music, ain't you?
Well, for your information, that's harmonica hell rehearsing for the night.
And in this room, it comes through the window.
On account of the reservoir window.
But in the other room, it comes through the walls.
On account of the rate no window.
Catch on.
Better close the window, Joe.
No, no, wait a minute.
Yeah, I do like music.
You mind if a guy in a spot like I am hears a little music?
What about it, Froggy?
Sure, sure, leave it up.
Let's have music while we work.
It'll cover up the noise if he makes any fuss.
So what's the new angle?
Knock him off.
Dump him in the park.
Dead by his own hand.
Remorse.
We leave the gun beside him and plant some of Doyle's stuff on him.
Yeah, yeah, I got it.
All right, get going, get going, tie him up.
Yeah.
Put a hand on his mouth.
Yeah.
Put a card around him.
He's drunk, see?
And we're taking care of him.
Okay.
Where's the card?
Round it back.
Nobody will see us going out that way.
All right, all right, you ready?
Just a minute.
All right, take a look.
Okay.
All right.
Take a look out that door.
Okay.
All clear?
Yeah.
Let's go.
Lock the door after we go in.
Okay.
Down the hall to the back stairs.
Hey, what the?
All right, drop those guns and drop them up.
Cover him, you guys.
I got it.
You'll find out, Graziano.
Get that gag out of the guy's mouth and untie him.
Sure.
Jenny, I heard the music.
I hoped you would.
I asked him to leave the window open.
I heard the conversation too.
Enough.
Okay, boys, take him down.
All right, come on, come on.
Say, who are those guys?
Graziano's a mobster.
Doyle was one of his boys who double crossed him.
How you feeling?
Okay, I guess.
That was kind of close.
Yeah, all the way around.
Yeah.
Look, kid, I...
Skip it, Denny.
I'm sorry, Tommy.
Honest.
I thought you did it.
Denny, until just now, so did I.
And so closes The Singing Walls starring Preston Foster with Dane Clark.
Tonight's tale of...
Suspense.
This is your narrator, the man in black, who conveys to you Columbia's invitation to spend this half hour in suspense with us again next week at this same time,
when Miss Lillian Gish and Mr. Otto Krueger, who star in the suspense play, marry for murder.
The producer of these broadcasts is William Spear, who with Ted Bliss, the director, Bernard Herman and Lucy Ann Marowick, conductor and composer,
and Robert L. Richards, the radio author, collaborated on tonight's Suspense.
This is CBS, the Columbia broadcasting system.