WEBVTT 00:00.000 --> 00:04.000 Now, Roma Wines present... 00:04.000 --> 00:13.000 Suspense! 00:13.000 --> 00:23.000 Black Path of Fear, starring Brian Donlevy. 00:23.000 --> 00:30.000 Suspense is presented for your enjoyment by Roma Wines. That's R-O-M-A. Roma Wines. 00:30.000 --> 00:35.000 Those excellent California wines that can add so much pleasantness to the way you live. 00:35.000 --> 00:40.000 To your happiness and entertaining guests. To your enjoyment of everyday meals. 00:40.000 --> 00:46.000 Yes, right now a glass full would be very pleasant as Roma Wines bring you... 00:46.000 --> 00:49.000 Suspense! 00:49.000 --> 00:55.000 This is the Man in Black, here for the Roma Wine Company of Fresno, California. 00:55.000 --> 00:59.000 Who tonight from Hollywood bring you as star, Mr. Brian Donlevy. 00:59.000 --> 01:04.000 And so with the performance of Mr. Donlevy as Bill Scott in the Cornell Woolrich bestseller... 01:04.000 --> 01:09.000 The Black Path of Fear. We again hope to keep you in... 01:09.000 --> 01:12.000 Suspense! 01:12.000 --> 01:22.000 Suspense! 01:22.000 --> 01:27.000 It was our first day in Havana. We'd taken a hack, an open horse-drawn carriage... 01:27.000 --> 01:33.000 And spent the afternoon driving around to see the sights. She was always crazy about jade. 01:33.000 --> 01:38.000 So, in Chinatown we stopped in a little curiosity shop the driver steered us to. 01:38.000 --> 01:42.000 So we bought a few gadgets there and started back towards the main part of the town. 01:42.000 --> 01:47.000 It was getting dark and she snuggled up close to me and the carriage... 01:47.000 --> 01:49.000 It's been a wonderful day, Scotty. 01:49.000 --> 01:50.000 Yeah. 01:50.000 --> 01:55.000 I was scared at first. A couple of times I thought I saw him in the crowds there. Chinatown. 01:55.000 --> 01:57.000 I guess it was just my imagination. 01:57.000 --> 02:01.000 Sure it was. He wouldn't try any rough stuff this far from his home base. 02:01.000 --> 02:05.000 He may be a little Caesar around the night clubs back in Florida, but here in Cuba... 02:05.000 --> 02:09.000 He's just another alien who'd better not get caught packing a rod. 02:09.000 --> 02:12.000 He said he'd get me if I ever left him. No matter where I went. 02:12.000 --> 02:15.000 Well, he sent us a radiogram wishing us luck. 02:15.000 --> 02:18.000 That's what worries me. He didn't say which kind of luck. 02:18.000 --> 02:21.000 I told you! 02:21.000 --> 02:23.000 Hey, what's this driver? 02:23.000 --> 02:27.000 A sloppy joe, senor. Big attraction of Havana. 02:27.000 --> 02:31.000 Of course. Sloppy joes. Want to go in, darling? 02:31.000 --> 02:35.000 Why not? We can only die once. 02:35.000 --> 02:39.000 So I paid the coachman and we went into Sloppy Joe's. 02:39.000 --> 02:44.000 The place was jammed to the sidewalk line and so noisy you couldn't hear yourself think. 02:44.000 --> 02:49.000 It was like a football scrimmage when you moved and like sardines in a can when you stood still. 02:49.000 --> 02:54.000 Then suddenly the crowd divided in front of us like the Red Sea and a little photographer came through... 02:54.000 --> 02:58.000 using an old-fashioned tripod for a battering ram. 02:58.000 --> 03:01.000 He set up his camera and pointed it in our direction. 03:01.000 --> 03:06.000 Senor and the lady would like a picture for to show their friends back in the estate. 03:06.000 --> 03:09.000 Oh, please, Scotty. We've never had a picture taken together. 03:09.000 --> 03:13.000 Together? With 40,000 people jammed up against us on all sides? 03:13.000 --> 03:19.000 Well, it's that maybe to come to my studio. Calle Barrios. Calle Barrios. It's not far. 03:19.000 --> 03:21.000 No, no. Go on. Shoot it here. Go ahead. 03:21.000 --> 03:25.000 Make pose, please. Mucho love. Si, como no? 03:25.000 --> 03:30.000 Hold it. No. That is all. I have the picture. 03:30.000 --> 03:35.000 Well, he's taking us now, darling. Oh, come on, honey. Everybody's looking at us. 03:35.000 --> 03:38.000 Don't rush me, Scotty. Huh? Give me time. 03:38.000 --> 03:42.000 What is it? Why are you so limpy? I knew we wouldn't make it. 03:42.000 --> 03:46.000 Why do we care? Part of a night's better than none of all. 03:46.000 --> 03:49.000 Eve! Just stay with me a minute. 03:49.000 --> 03:52.000 Or take long. Darling, what happened? What happened? 03:52.000 --> 03:56.000 Scotty, that was the first picture we ever had taken together. Huh? 03:56.000 --> 03:59.000 Let me know how it turns out. 03:59.000 --> 04:04.000 Eve. Eve, darling. She's dead. 04:04.000 --> 04:07.000 She doesn't move anymore. Somebody do something. Would you? 04:07.000 --> 04:10.000 She's been knifed right here in my arms. 04:10.000 --> 04:13.000 Murder in Sloppy Joe's. 04:13.000 --> 04:18.000 Murder that is the start of man, twisting and turning down the black path of fear. 04:18.000 --> 04:21.000 Brian Don Levy is our star this evening. 04:21.000 --> 04:24.000 You have heard him in the prologue to tonight's tale of... 04:24.000 --> 04:41.000 Suspense. 04:41.000 --> 04:46.000 In Havana, one gathering place of fashionable people is the charming Pan American Club. 04:46.000 --> 04:51.000 A dinner party is in progress, and a Cuban host has just risen to return a compliment, 04:51.000 --> 04:54.000 which has been paid him by a guest from the United States. 04:54.000 --> 04:58.000 Lifting his glass, he says, thank you, my friends. 04:58.000 --> 05:02.000 Thank you also for telling us about the perfect climate and soil of California, 05:02.000 --> 05:05.000 from which come these delightful Roma wines. 05:05.000 --> 05:08.000 Now we can understand how such perfection is possible, 05:08.000 --> 05:13.000 such magnificent quality as we enjoy in Roma wines. 05:13.000 --> 05:19.000 Well, such praise of Roma wines in foreign lands can only mean that they are truly magnificent in quality. 05:19.000 --> 05:26.000 But remember, you here in the United States can enjoy these distinguished wines at remarkably low cost, 05:26.000 --> 05:28.000 only pennies a glass. 05:28.000 --> 05:33.000 Roma wines bring you a unique combination of California's perfect soil and climate, 05:33.000 --> 05:38.000 age-old winemaking skill, plus modern tests and controls, 05:38.000 --> 05:43.000 which make Roma so constant in quality, so uniformly fine. 05:43.000 --> 05:46.000 Discover for yourself the delightful flavor and goodness 05:46.000 --> 05:50.000 which have made Roma wines America's largest selling wines. 05:50.000 --> 06:00.000 Ask for R-O-M-A, Roma wines, made in California for enjoyment throughout the world. 06:00.000 --> 06:06.000 And now it is with pleasure that we bring back to our sound stage Mr. Brian Donlevy, 06:06.000 --> 06:12.000 who in The Person of Bill Scott continues his narrative of the Black Path of Fear, 06:12.000 --> 06:16.000 tonight's tale of suspense. 06:16.000 --> 06:22.000 Havana is a fast town for anything, love, life, and death too. 06:22.000 --> 06:26.000 A minute ago I'd been half of a honeymoon couple getting their first picture snapped 06:26.000 --> 06:29.000 by a little Cuban photographer in sloppy Joe's. 06:29.000 --> 06:18.180 Now I'm in the middle of a 06:18.180 --> 06:28.180 The Person of Bill Scott 06:28.180 --> 06:34.180 Havana is a fast town for anything, love, life, and death too. 06:34.180 --> 06:38.180 A minute ago I'd been half of a honeymoon couple getting their first picture snapped 06:38.180 --> 06:41.180 by a little Cuban photographer in sloppy Joe's. 06:41.180 --> 06:45.180 Now I was alone with a corpse in an empty saloon. 06:45.180 --> 06:50.180 But that didn't go on for long either. There were cops there in half a minute and finally a detective. 06:50.180 --> 06:51.180 This woman is dead. 06:51.180 --> 06:52.180 Yeah, I know. 06:52.180 --> 06:53.180 You were the man with her? 06:53.180 --> 06:55.180 I was the man with her. 06:55.180 --> 06:56.180 Your name? 06:56.180 --> 06:57.180 Scott, Bill Scott. 06:57.180 --> 06:59.180 Mr. Scott, how long have you been in Havana? 06:59.180 --> 07:00.180 Four hours. 07:00.180 --> 07:01.180 You quarreled with this girl here in this bar? 07:01.180 --> 07:02.180 No, no. 07:02.180 --> 07:04.180 You were traveling together? 07:04.180 --> 07:05.180 Yes, that's right. 07:05.180 --> 07:08.180 Her name on her tour card is Mrs. Edward Espanelli. 07:08.180 --> 07:09.180 Yeah. 07:09.180 --> 07:10.180 Where is Mr. Espanelli? 07:10.180 --> 07:13.180 Not where I'd like him to be, which is roasting. 07:13.180 --> 07:15.180 You are not being very cooperative, Mr. Scott. 07:15.180 --> 07:18.180 Okay, okay. I'll tell you the whole story. 07:18.180 --> 07:21.180 She was a singer in a nightclub in Tampa, Florida. 07:21.180 --> 07:23.180 Espanelli owned the nightclub. 07:23.180 --> 07:25.180 He was a killer. 07:25.180 --> 07:28.180 He gave her the choice between getting killed and marrying him. 07:28.180 --> 07:29.180 So she married him. 07:29.180 --> 07:31.180 And how did you meet her? 07:31.180 --> 07:35.180 I worked for Espanelli too. I drove his car. 07:35.180 --> 07:39.180 You are not a chauffeur by profession, are you, Mr. Scott? 07:39.180 --> 07:40.180 No, no. 07:40.180 --> 07:42.180 I took the job to get her away from him. 07:42.180 --> 07:43.180 Is there anything wrong in that? 07:43.180 --> 07:46.180 The murder weapon, this knife. What do you know about it? 07:46.180 --> 07:47.180 What are you driving at? 07:47.180 --> 07:49.180 Is this your knife, Mr. Scott? 07:49.180 --> 07:51.180 No, but it's a pretty close match. 07:51.180 --> 07:54.180 I bought one just like it this afternoon in a curiosity shop. 07:54.180 --> 07:56.180 Wait a minute. I'll show you. I've got it in my pocket right here. 07:56.180 --> 07:57.180 Cuidado, carlo. 07:57.180 --> 08:00.180 Wait a minute. Don't get so excited. 08:00.180 --> 08:02.180 All right, it's in that pocket right there. 08:02.180 --> 08:05.180 Fish it out yourself if you want to. 08:05.180 --> 08:07.180 There is no knife here. 08:07.180 --> 08:08.180 But there's got to be. 08:08.180 --> 08:11.180 It was a knife with a jade handle like this, 08:11.180 --> 08:13.180 one with a monkey carved on it, 08:13.180 --> 08:17.180 but the monkey on the one I bought was holding its hands over its ears. 08:17.180 --> 08:18.180 There were three of them in the shop. 08:18.180 --> 08:21.180 You know, the type, see no evil, hear no evil, speak no evil. 08:21.180 --> 08:23.180 I only know that you bought a knife this afternoon, 08:23.180 --> 08:24.180 that you no longer have a knife 08:24.180 --> 08:26.180 and that a knife has been used to stab this woman. 08:26.180 --> 08:29.180 But it's not the same knife, I tell you. I can prove it. 08:29.180 --> 08:30.180 Give me a chance to prove it, will you? 08:30.180 --> 08:33.180 All right, Mr. Scott. I will give you a chance. 08:33.180 --> 08:36.180 So we went back to the shop where I bought the knife, back to Chinatown. 08:36.180 --> 08:39.180 Inspector Acosta, that was the Cuban detective's name, 08:39.180 --> 08:41.180 questioned the old duck who sold it to me. 08:41.180 --> 08:44.180 You remember this man buying something in here this afternoon, Viejo? 08:44.180 --> 08:46.180 Yes. 08:46.180 --> 08:50.180 Gentleman buy knife, ornamental knife, 08:50.180 --> 08:52.180 knife with jade handle. 08:52.180 --> 08:54.180 Describe the jade handle. 08:54.180 --> 08:58.180 Jade handle have many different names. 08:58.180 --> 09:03.180 Describe the jade handle. 09:03.180 --> 09:04.180 Jade handle have monkey. 09:04.180 --> 09:06.180 We know that. Describe the monkey. 09:06.180 --> 09:11.180 Pretty sure of monkey hiding eyes, a soul, see no evil. 09:11.180 --> 09:13.180 You're crazy. What's the matter with you? 09:13.180 --> 09:14.180 What are you trying to do to me? 09:14.180 --> 09:16.180 I bought the one holding its ears. You know it. 09:16.180 --> 09:19.180 Viejo Chin, this man's life may depend on what you are saying, 09:19.180 --> 09:21.180 but you are absolutely sure. 09:21.180 --> 09:25.180 Come by trees. First one is sold to this gentleman, 09:25.180 --> 09:28.180 others still got. Can show you. 09:28.180 --> 09:30.180 Can lie in your teeth. 09:30.180 --> 09:33.180 Listen Acosta, so what if he shows you the set with that one missing? 09:33.180 --> 09:35.180 He's probably got a hundred sets in the store room. 09:35.180 --> 09:40.180 Only one set imported. Can show customs invoice. 09:40.180 --> 09:45.180 How did this man and this woman act when they came into the shop? 09:45.180 --> 09:49.180 Oh, they act scare, very scare. 09:49.180 --> 09:51.180 I told you she was afraid Spinelli was going to have her bumped off. 09:51.180 --> 09:56.180 Well, he did it. And this guy has been paid to frame me. Can't you see that? 09:56.180 --> 09:59.180 I am sorry Mr. Escort, but I must place you under arrest 09:59.180 --> 10:02.180 for the murder of Mrs. Eve Spinelli. 10:10.180 --> 10:13.180 As we threaded our way back through Chinatown in the police car, 10:13.180 --> 10:16.180 I thought the whole thing over. I came to a decision. 10:16.180 --> 10:19.180 The car fitted in the narrow lane like a cork in a bottle. 10:19.180 --> 10:22.180 If it should come to a halt in front of the door of a building, 10:22.180 --> 10:25.180 and finally it did, just that, I bolted. 10:25.180 --> 10:30.180 They came after me fast. The door I ducked into opened into a pitch black hallway. 10:30.180 --> 10:34.180 I groped around until I found a flight of stairs and I started climbing. 10:35.180 --> 10:37.180 Out, out, I shoot. 10:37.180 --> 10:39.180 Fire and shoot. 10:39.180 --> 10:41.180 I ducked back in the shadows. 10:41.180 --> 10:43.180 Turned the knob at the nearest door. 10:43.180 --> 10:45.180 I tossed my hat over at the foot of the roof ladder 10:45.180 --> 10:48.180 to make it look as if I'd lost it while climbing. 10:48.180 --> 10:50.180 I backed through the door into a room. 10:50.180 --> 10:53.180 I shoot. I shoot. 10:53.180 --> 10:56.180 I shoot. I shoot. 10:56.180 --> 10:59.180 In the dark room I stood very still and listened. 10:59.180 --> 11:02.180 They were separating the case, the roof along the block. 11:02.180 --> 11:04.180 I was safe for a few minutes anyway. 11:04.180 --> 11:06.180 Tried to figure out where I was. 11:06.180 --> 11:08.180 Room, a dark room. 11:08.180 --> 11:10.180 I strained my eyes into the blackness. 11:10.180 --> 11:14.180 Then something cold and metallic found the side of my neck. 11:14.180 --> 11:18.180 It was the business edge of a knife, blade. 11:18.180 --> 11:20.180 A light snapped on. 11:20.180 --> 11:21.180 Bueno. 11:21.180 --> 11:24.180 I, uh, no hablo espanol. 11:24.180 --> 11:25.180 No se mueva. 11:25.180 --> 11:26.180 Oh, take it easy, take it easy, will you? 11:26.180 --> 11:29.180 I can't talk your language. Put that knife down, will you? 11:29.180 --> 11:30.180 Te quiero estar aquí. 11:30.180 --> 11:32.180 Polizia. 11:32.180 --> 11:34.180 Understand? Understand? 11:34.180 --> 11:36.180 Compré? 11:36.180 --> 11:39.180 Look, out there on the stairs, I don't know how to say it. 11:39.180 --> 11:41.180 Polizia. They're after me. Cops. 11:41.180 --> 11:43.180 Cops? Why didn't you say so before? 11:43.180 --> 11:44.180 I hate cops. 11:44.180 --> 11:45.180 Oh, you talk English? 11:45.180 --> 11:48.180 I ought to have been in enough of your jails to take out naturalization papers. 11:48.180 --> 11:51.180 Hey, get over here. I do what I can for you. 11:51.180 --> 11:53.180 They're coming back. I better get out of here. 11:53.180 --> 11:54.180 Don't be a fool. 11:54.180 --> 11:56.180 There's 20 of them down in the street now. 11:56.180 --> 11:58.180 They sure must want you bad, Chico. 11:58.180 --> 12:01.180 They say I killed my girl. 12:01.180 --> 12:02.180 They say wrong? 12:02.180 --> 12:04.180 They say very wrong. 12:04.180 --> 12:06.180 Another man took her away from you? 12:06.180 --> 12:08.180 No, I took her away from another man. 12:08.180 --> 12:11.180 Ah, then any fool of a policeman knows you did not kill her. 12:11.180 --> 12:13.180 You never kill what does not belong to you. 12:13.180 --> 12:15.180 Only what does. 12:15.180 --> 12:17.180 You tell them that. 12:17.180 --> 12:19.180 Oh, here comes Patey. 12:19.180 --> 12:21.180 Quickly, get into the car there. 12:21.180 --> 12:22.180 Cover yourself up. 12:22.180 --> 12:23.180 What? But... 12:23.180 --> 12:24.180 Do as I tell you. Take off that shirt. 12:24.180 --> 12:26.180 Don't stop for the buttons. Tear it off. 12:26.180 --> 12:27.180 Well... 12:27.180 --> 12:29.180 Now then, face the wall. 12:29.180 --> 12:30.180 Wait a minute. What are you doing? 12:30.180 --> 12:31.180 Keep perfectly still. 12:31.180 --> 12:33.180 Don't rub against the covers. 12:33.180 --> 12:35.180 Now, don't move. 12:35.180 --> 12:37.180 Dispense, senora. 12:37.180 --> 12:41.180 Ha visto usted un hombre alto, macizo, americano? 12:41.180 --> 12:43.180 No he visto a nadie. 12:43.180 --> 12:44.180 Quien es ese? 12:44.180 --> 12:46.180 Mi hombre, mi marido. 12:46.180 --> 12:48.180 Via Moslo. 12:48.180 --> 12:49.180 Está muy enfermo. 12:49.180 --> 12:50.180 Vuela. 12:50.180 --> 12:51.180 Vuela? 12:51.180 --> 12:52.180 Sí, vuela. 12:52.180 --> 12:53.180 Ve a la cuarentena. 12:53.180 --> 12:55.180 He's a real vual. 12:55.180 --> 12:57.180 Dispense, senora. Buenas noches. 12:57.180 --> 12:58.180 Buenas noches. 12:58.180 --> 13:00.180 What was all that about? 13:00.180 --> 13:01.180 Shh! 13:01.180 --> 13:06.180 What are all these red spots on me? 13:06.180 --> 13:08.180 I put them there with lipstick. 13:08.180 --> 13:10.180 I told the cops you were my husband. 13:10.180 --> 13:11.180 You have smallpox. 13:11.180 --> 13:12.180 And they believed it? 13:12.180 --> 13:13.180 Why not? 13:13.180 --> 13:16.180 I showed them the quarantine sign on the door. 13:16.180 --> 13:20.180 Manolito, that was my man. 13:20.180 --> 13:22.180 He died of smallpox in this room. 13:22.180 --> 13:23.180 Huh? 13:23.180 --> 13:24.180 Oh, do not be alarmed. 13:24.180 --> 13:26.180 It has been disinfected. 13:26.180 --> 13:28.180 Oh, let's see. 13:28.180 --> 13:29.180 Thank you. 13:29.180 --> 13:31.180 Oh, let's see. 13:31.180 --> 13:32.180 Thanks. 13:32.180 --> 13:35.180 But why did you go to bed for me like that anyway? 13:35.180 --> 13:38.180 Different reasons. 13:38.180 --> 13:40.180 Flowers on a grave, I guess. 13:40.180 --> 13:41.180 Flower? 13:41.180 --> 13:42.180 What do you mean? 13:42.180 --> 13:44.180 It's hard to explain. 13:44.180 --> 13:49.180 It's my way of doing something for somebody that's not around anymore, I guess. 13:49.180 --> 13:50.180 It's the only way I have. 13:50.180 --> 13:53.180 I do not know any other way. 13:53.180 --> 13:58.180 You see, I know what it is to lose someone you love, too. 13:58.180 --> 14:00.180 Just like you. 14:00.180 --> 14:01.180 Manolito? 14:01.180 --> 14:03.180 He got smallpox in jail. 14:03.180 --> 14:05.180 Then he come back here to me. 14:05.180 --> 14:07.180 To die. 14:07.180 --> 14:11.180 Hey, what is your name, wapo? 14:11.180 --> 14:12.180 Bill Scott. 14:12.180 --> 14:13.180 A Scott? 14:13.180 --> 14:16.180 No, no, no, Scott with an S. 14:16.180 --> 14:18.180 It's too hard to say. 14:18.180 --> 14:19.180 I call you wapo. 14:19.180 --> 14:20.180 Wapo? 14:20.180 --> 14:23.180 That means handsome. 14:23.180 --> 14:25.180 Well, thanks. 14:25.180 --> 14:27.180 What'll I call you? 14:27.180 --> 14:30.180 Around this neighborhood they call me Medianoche. 14:30.180 --> 14:31.180 Medi-er... 14:31.180 --> 14:33.180 It means midnight. 14:33.180 --> 14:35.180 Try it that way. 14:35.180 --> 14:37.180 Okay, midnight. 14:37.180 --> 14:44.180 They call me that because now I always hang around late by myself since he's gone. 14:44.180 --> 14:49.180 Well, midnight I don't know what to say to you except thanks. 14:49.180 --> 14:52.180 Another flowers on a grave. 14:52.180 --> 14:54.180 Yeah. 14:54.180 --> 14:56.180 Well, I guess I better get going. 14:56.180 --> 14:58.180 What do you want to throw away all my hard work for? 14:58.180 --> 15:00.180 They spot you at the next corner. 15:00.180 --> 15:03.180 Well, I can't hang around here for the rest of the night. 15:03.180 --> 15:08.180 Was the matter with it here? 15:08.180 --> 15:13.180 You know, if I could only get hold of that photographer. 15:13.180 --> 15:14.180 Photographer? 15:14.180 --> 15:16.180 Yeah, I was a photographer in Sloppy Joe's. 15:16.180 --> 15:19.180 He was snapping a picture of us just when it happened. 15:19.180 --> 15:23.180 Oh, you think maybe in this picture is the man who killed your sweetheart? 15:23.180 --> 15:25.180 Yeah, I'm pretty sure of it. 15:25.180 --> 15:27.180 Think, Wapo. 15:27.180 --> 15:29.180 What do you remember about this photographer? 15:29.180 --> 15:33.180 Oh, he's just a typical cheap photographer of tourists. 15:33.180 --> 15:34.180 Wait a minute. 15:34.180 --> 15:35.180 Wait a minute. 15:35.180 --> 15:38.180 He said something about having a studio somewhere near Sloppy's. 15:38.180 --> 15:39.180 Callebaryos? 15:39.180 --> 15:41.180 That's it, Callebaryos. 15:41.180 --> 15:43.180 Look, do you know this guy? 15:43.180 --> 15:46.180 Sales go there with the girls to get their pictures taken. 15:46.180 --> 15:48.180 His name is Pepe Campos. 15:48.180 --> 15:50.180 I've got to get that picture midnight. 15:50.180 --> 15:51.180 I'll have to risk it. 15:51.180 --> 15:52.180 Un momentito. 15:52.180 --> 15:55.180 I first get you some other clothes. 15:55.180 --> 15:56.180 Here. 15:56.180 --> 15:58.180 I think this fit you. 15:58.180 --> 15:59.180 What? 15:59.180 --> 16:02.180 Manolito was one big sailor. 16:02.180 --> 16:03.180 And now listen. 16:03.180 --> 16:06.180 I tell you how to get from here over to the Callebaryos, 16:06.180 --> 16:08.180 so maybe the police don't see you. 16:08.180 --> 16:11.180 You go down to the mouth of the alley. 16:11.180 --> 16:12.180 You turn to the right. 16:12.180 --> 16:14.180 That is this hand here. 16:14.180 --> 16:22.180 Just a few steps from there. 16:22.180 --> 16:26.180 It was so dark, I almost had to feel my way along the streets. 16:26.180 --> 16:31.180 Suddenly out of nowhere came a voice. 16:31.180 --> 16:34.180 There were two of them there, keeping the alley covered. 16:34.180 --> 16:37.180 I looked back the way I had come. 16:37.180 --> 16:40.180 Someone was coming toward me through the blackness. 16:40.180 --> 16:42.180 I waited there paralyzed. 16:42.180 --> 16:44.180 What's up, Marinetto? 16:44.180 --> 16:46.180 What? 16:46.180 --> 16:48.180 Out of your lonesome? 16:48.180 --> 16:50.180 Yeah. 16:50.180 --> 16:52.180 Yeah. 16:52.180 --> 16:55.180 Hey, you want a drink, sister? 16:55.180 --> 16:57.180 Look, walk close to me like this. 16:57.180 --> 16:58.180 Huh? 16:58.180 --> 16:59.180 No, no, lean up closer. 16:59.180 --> 17:01.180 Get your face up under mine, honey. 17:01.180 --> 17:02.180 That's it. 17:02.180 --> 17:04.180 Give me a little more affection. 17:04.180 --> 17:05.180 Yeah. 17:05.180 --> 17:06.180 That's the stuff. 17:06.180 --> 17:07.180 Now look. 17:07.180 --> 17:09.180 Walk down this way with me. 17:09.180 --> 17:10.180 Just past the corner. 17:10.180 --> 17:12.180 You said it, big boy. 17:12.180 --> 17:13.180 You said it. 17:13.180 --> 17:15.180 What do you want to drink, honey? 17:15.180 --> 17:17.180 You said it. 17:17.180 --> 17:18.180 That's good. 17:18.180 --> 17:20.180 Here's the turn. 17:20.180 --> 17:21.180 Goodbye, sister. 17:21.180 --> 17:23.180 Chip, skip. Chip, skip. 17:23.180 --> 17:24.180 Sister, no. 17:24.180 --> 17:25.180 They are gone. 17:25.180 --> 17:26.180 They are gone. 17:26.180 --> 17:27.180 They are gone. 17:27.180 --> 17:28.180 They are gone. 17:28.180 --> 17:29.180 They are gone. 17:29.180 --> 17:30.180 They are gone. 17:30.180 --> 17:31.180 They are gone. 17:31.180 --> 17:32.180 I was afraid of yelling. 17:32.180 --> 17:35.180 I had to track the cops, so I took off down the street, 17:35.180 --> 17:38.180 and then I ducked into the alley to catch my breath. 17:38.180 --> 17:40.180 I looked up. 17:40.180 --> 17:42.180 There was a sign on the shop. 17:42.180 --> 17:46.180 Campos, retratos, y fotografías. 17:46.180 --> 17:47.180 At first, I didn't get it. 17:47.180 --> 17:49.180 Then, all of a sudden, I knew. 17:49.180 --> 17:51.180 I was there. 17:51.180 --> 17:53.180 I opened the door and walked in. 17:53.180 --> 17:54.180 Sí, señor. 17:54.180 --> 17:55.180 Look. 17:55.180 --> 18:01.180 You took a picture this evening of me and a lady in sloppy Joe's. 18:01.180 --> 18:02.180 I want that picture. 18:02.180 --> 18:04.180 Cuando me recuerdo, es de una dracolsa. 18:04.180 --> 18:06.180 Now look, there was trouble right afterwards. 18:06.180 --> 18:07.180 You know, a lot of noise. 18:07.180 --> 18:09.180 Oh, sí, sí. 18:09.180 --> 18:10.180 I remember. 18:10.180 --> 18:13.180 I am just developing the pictures I have taken today. 18:13.180 --> 18:15.180 Come with me. 18:15.180 --> 18:17.180 This is my dark room. 18:17.180 --> 18:19.180 The very latest equipment. 18:19.180 --> 18:20.180 Yeah, yeah, yeah. 18:20.180 --> 18:21.180 But where is that picture? 18:21.180 --> 18:23.180 Oh, right here. 18:23.180 --> 18:24.180 In the bath. 18:24.180 --> 18:26.180 Oh. 18:26.180 --> 18:28.180 Yeah. 18:28.180 --> 18:29.180 It's beginning to come through. 18:29.180 --> 18:30.180 Sí, sí. 18:30.180 --> 18:31.180 Yeah. 18:31.180 --> 18:33.180 Yeah, that size. 18:33.180 --> 18:34.180 Oh. 18:34.180 --> 18:36.180 Someone leans over the lady's shoulder, no? 18:36.180 --> 18:37.180 Yeah. 18:37.180 --> 18:40.180 Yeah, let's have some more light on the subject, will you? 18:40.180 --> 18:41.180 Sí, sí. 18:41.180 --> 18:43.180 This is someone you know, señor. 18:43.180 --> 18:45.180 It's someone I know, all right. 18:45.180 --> 18:46.180 His name is... 18:46.180 --> 18:48.180 Never mind the name, Scotty. 18:48.180 --> 18:50.180 I'll introduce myself. 18:50.180 --> 18:51.180 Spinelli. 18:51.180 --> 18:53.180 Stand over against the wall, Scotty. 18:53.180 --> 18:56.180 You too. 18:56.180 --> 18:58.180 Well, I'm glad you found this picture, Scotty. 18:58.180 --> 19:02.180 I was kind of nervous about having a thing like this floating around. 19:02.180 --> 19:04.180 You can understand my feelings. 19:04.180 --> 19:06.180 You've surprised me, Spinelli. 19:06.180 --> 19:10.180 I didn't think you even had the guts to stab a woman in the back 19:10.180 --> 19:12.180 without your gorillas around to protect you. 19:12.180 --> 19:14.180 Don't make me angry, Scotty. 19:14.180 --> 19:16.180 I'm in a bad mood. 19:16.180 --> 19:18.180 I didn't know you were smart like you are either, Spinelli. 19:18.180 --> 19:20.180 I apologize. 19:20.180 --> 19:24.180 You know, that was a cute trick, hiring a cab driver 19:24.180 --> 19:26.180 to steer us into that shop in Chinatown, 19:26.180 --> 19:31.180 but what I still can't figure out is how you switched those knives. 19:31.180 --> 19:33.180 I didn't. 19:33.180 --> 19:36.180 I still have the knife you bought. 19:36.180 --> 19:39.180 I first got out of your pocket. 19:39.180 --> 19:42.180 Now I'm going to give it back to you. 19:42.180 --> 19:45.180 Would you like to see it first? 19:45.180 --> 19:47.180 There. 19:47.180 --> 19:49.180 It's pretty, ain't it? 19:49.180 --> 19:51.180 You've always had an eye for jades. 19:51.180 --> 19:53.180 This is definitely the best of the three. 19:53.180 --> 19:55.180 It's a pity to spoil such a pretty knife, 19:55.180 --> 20:00.180 but the revolver, that makes too much noise. 20:00.180 --> 20:03.180 Yeah, I think I'll use the knife on you too. 20:03.180 --> 20:06.180 I like things symmetrical. 20:06.180 --> 20:09.180 Like Romeo and Juliet, ain't it? 20:09.180 --> 20:11.180 What's that? Don't move, Scotty. 20:11.180 --> 20:13.180 Guapo. 20:13.180 --> 20:15.180 Guapo, are you in here? 20:15.180 --> 20:18.180 His sweetheart not dead an hour and already he has another. 20:18.180 --> 20:21.180 Midnight. Get out of here quick. This man is a killer. 20:21.180 --> 20:24.180 Oh, I'm not afraid of you, big boy. 20:24.180 --> 20:26.180 Keep away from me and don't try any funny business. 20:26.180 --> 20:28.180 Oh, my hombre, he was just like you. 20:28.180 --> 20:30.180 He talk very mean. 20:30.180 --> 20:32.180 But you don't hurt me. 20:32.180 --> 20:34.180 Not one little bit. 20:34.180 --> 20:37.180 I don't only talk, big sister. 20:37.180 --> 20:39.180 I got a job to do here. 20:39.180 --> 20:41.180 I'll talk to you when I shut your boyfriend's trap for good. 20:41.180 --> 20:43.180 My boyfriend? Are you kidding? 20:43.180 --> 20:45.180 Go ahead, finish him off. 20:45.180 --> 20:47.180 He took a powder on me. 20:47.180 --> 20:49.180 I come after him only to collect. 20:49.180 --> 20:51.180 On the cuff, huh? 20:51.180 --> 20:53.180 Oh, Scotty, you ought to be ashamed of yourself. 20:53.180 --> 20:55.180 On the cuff. 20:55.180 --> 20:57.180 Hey, you are rich, huh? 20:57.180 --> 20:59.180 You got big diamonds. 20:59.180 --> 21:01.180 Say I like you, mister. 21:01.180 --> 21:03.180 Stop mooching around. 21:03.180 --> 21:05.180 Midnight, I tell you, this guy is a killer. Watch out. 21:05.180 --> 21:07.180 Ah, shut up. 21:07.180 --> 21:09.180 How about it, big boy? 21:09.180 --> 21:11.180 Come on. 21:11.180 --> 21:13.180 Stick around, baby. 21:13.180 --> 21:15.180 I can use talent like yours. 21:15.180 --> 21:17.180 Kiss me, big boy. 21:17.180 --> 21:19.180 Later, later. 21:19.180 --> 21:21.180 Now. All right, yell very loud. 21:21.180 --> 21:23.180 Make big trouble. 21:23.180 --> 21:25.180 You're pretty hot stuff, ain't you? 21:25.180 --> 21:27.180 You don't know the half of it, big boy, huh? 21:27.180 --> 21:29.180 Come here. 21:31.180 --> 21:33.180 Now, you scum. 21:33.180 --> 21:35.180 You dirty little stupid. 21:35.180 --> 21:37.180 Shut up, Spinelli. 21:37.180 --> 21:39.180 I've got the gun now. 21:39.180 --> 21:41.180 Scotty, I was only 21:41.180 --> 21:43.180 throwing a scare into you. 21:43.180 --> 21:45.180 I would have knocked you off right away. 21:45.180 --> 21:47.180 That's what I meant to do, wouldn't I? 21:47.180 --> 21:49.180 What's it worth to you to stay alive, Spinelli? 21:49.180 --> 21:51.180 Scotty, a hundred thousand dollars. 21:51.180 --> 21:53.180 In the bank right here in the van. 21:53.180 --> 21:55.180 Just let me go over that table there. 21:55.180 --> 21:57.180 Check the bearer. No strings. 21:57.180 --> 21:59.180 Spinelli, I want Eve 21:59.180 --> 22:01.180 back again. 22:01.180 --> 22:03.180 Two hundred thousand. Chicago account thrown in. 22:03.180 --> 22:05.180 Two hundred and fifty thousand. That's a quarter of a million, Scotty. 22:05.180 --> 22:07.180 I want Eve. 22:07.180 --> 22:09.180 You can't bring the dead to life, Scotty. 22:09.180 --> 22:11.180 But you can be rich. 22:11.180 --> 22:13.180 Kill me and you get nothing but a murder rap. 22:13.180 --> 22:15.180 The picture don't show me sticking the knife in there. 22:15.180 --> 22:17.180 The knife don't mean anything. Chin and the driver never talk. 22:17.180 --> 22:19.180 You're just fixing up a nice 22:19.180 --> 22:21.180 murder rap for yourself, Scotty. 22:21.180 --> 22:23.180 Stand over 22:23.180 --> 22:25.180 under the lights, Spinelli. 22:25.180 --> 22:27.180 I don't want to miss. 22:27.180 --> 22:29.180 Scotty. 22:29.180 --> 22:31.180 Don't do it, Scotty. Scotty. 22:31.180 --> 22:33.180 Ah! 22:33.180 --> 22:53.180 Wind...truck! 22:53.180 --> 22:55.180 So, that's the story, 22:55.180 --> 22:57.180 Inspector. I... 22:57.180 --> 22:59.180 I've come to give myself up 22:59.180 --> 23:01.180 for the murder of Ed Spinelli. 23:01.180 --> 23:03.180 Well, 23:03.180 --> 23:05.180 what are you going to do about it, Inspector? 23:05.180 --> 23:07.180 About what? 23:07.180 --> 23:09.180 About what? 23:09.180 --> 23:11.180 About what I just told you, the murder. 23:11.180 --> 23:13.180 I don't speak English so good. 23:13.180 --> 23:15.180 I often miss hearing things that are said, 23:15.180 --> 23:17.180 especially when they are said too fast. 23:17.180 --> 23:19.180 All right, I can say it slower. 23:19.180 --> 23:21.180 I just killed a man 23:21.180 --> 23:23.180 named Ed Spinelli. 23:23.180 --> 23:25.180 My English stinks today. 23:25.180 --> 23:27.180 I don't understand. 23:27.180 --> 23:29.180 You don't understand? I said... 23:29.180 --> 23:31.180 I don't know what you said. 23:31.180 --> 23:33.180 Why should you get word from the Commissioner 23:33.180 --> 23:35.180 to all the man named Scot for murder? 23:35.180 --> 23:37.180 That would be different. It would be in my language. 23:37.180 --> 23:39.180 Unless that should happen and it isn't, 23:39.180 --> 23:41.180 please, would you mind not coming in here and mumbling 23:41.180 --> 23:43.180 in this English of yours that I don't understand? 23:43.180 --> 23:45.180 But, 23:45.180 --> 23:47.180 Signior Scot, this girl, 23:47.180 --> 23:49.180 this Medianocci... 23:49.180 --> 23:51.180 Mid...midnight? 23:51.180 --> 23:53.180 What about her? Do you know where she is? 23:53.180 --> 23:55.180 That girl, that woman, 23:55.180 --> 23:57.180 she's been raising cane in my jail all night, 23:57.180 --> 23:59.180 all day yesterday. 23:59.180 --> 24:01.180 What she charged with? My foolish over this questioner 24:01.180 --> 24:03.180 and then they didn't know any better that they put down 24:03.180 --> 24:05.180 some charge other than the book. 24:05.180 --> 24:07.180 Signior Scot, we have been stuck with her 24:07.180 --> 24:09.180 ever since. She's like a hurricane. 24:09.180 --> 24:11.180 Well, I'll agree with you there. 24:11.180 --> 24:13.180 Signior Scot, if you have not enough 24:13.180 --> 24:15.180 to bail her out, I'll pay another 24:15.180 --> 24:39.180 to my own pocket anything to get her out. 24:39.180 --> 24:41.180 Well, midnight, 24:41.180 --> 24:43.180 it's all over. 24:43.180 --> 24:45.180 Yes, guapo. 24:45.180 --> 24:47.180 It is over. 24:47.180 --> 24:49.180 Have you any 24:49.180 --> 24:51.180 idea where we're headed for? 24:51.180 --> 24:53.180 Es la pey jos. 24:53.180 --> 24:55.180 The feet of an American in Havana 24:55.180 --> 24:57.180 walk always 24:57.180 --> 24:59.180 in the direction of es la pey jos. 24:59.180 --> 25:01.180 No? 25:01.180 --> 25:03.180 Yeah. 25:03.180 --> 25:05.180 Yeah, I can hear it already. 25:05.180 --> 25:07.180 I... 25:07.180 --> 25:09.180 I'd like to ask in for a drink 25:09.180 --> 25:11.180 midnight. No, guapo. 25:11.180 --> 25:13.180 You go in 25:13.180 --> 25:15.180 alone. Oh, won't you 25:15.180 --> 25:17.180 just have one with me, please? 25:17.180 --> 25:19.180 No. Why not? 25:19.180 --> 25:21.180 There's someone 25:21.180 --> 25:23.180 waiting for you in there. 25:23.180 --> 25:25.180 Oh, that's crazy. Midnight 25:25.180 --> 25:27.180 I don't know anybody in Havana, except 25:27.180 --> 25:29.180 you. Someone is waiting for you 25:29.180 --> 25:31.180 in there, guapo. 25:31.180 --> 25:33.180 How do you say 25:33.180 --> 25:35.180 flowers on a grave? 25:35.180 --> 25:37.180 No? 25:37.180 --> 25:39.180 Flowers on a grave? 25:39.180 --> 25:41.180 And sloppy joes? 25:41.180 --> 25:43.180 Love makes any place beautiful. 25:43.180 --> 25:45.180 Even a sloppy 25:45.180 --> 25:47.180 joes. Go on, 25:47.180 --> 25:49.180 guapo. Buy her a drink 25:49.180 --> 25:51.180 at the bar and tell her how 25:51.180 --> 25:53.180 that picture you took together turned out. 25:53.180 --> 25:55.180 You promised you would. 25:55.180 --> 25:57.180 Remember? 25:57.180 --> 25:59.180 How do you tell something to somebody 25:59.180 --> 26:01.180 that's dead? 26:01.180 --> 26:03.180 In your mind, guapo. 26:03.180 --> 26:05.180 Where she will always be. 26:05.180 --> 26:07.180 Oh. 26:07.180 --> 26:09.180 I'll try and tell her 26:09.180 --> 26:11.180 midnight. I'll tell her about 26:11.180 --> 26:13.180 you, too. No. 26:13.180 --> 26:15.180 No, she will be jealous. Oh, no. Not when 26:15.180 --> 26:17.180 I tell her. Oh, you do not know women, 26:17.180 --> 26:19.180 guapo. Well, 26:19.180 --> 26:21.180 maybe not. 26:21.180 --> 26:23.180 Well, 26:23.180 --> 26:25.180 adios, 26:25.180 --> 26:27.180 guapo. 26:27.180 --> 26:39.180 Goodbye, midnight. 26:39.180 --> 26:41.180 And so closes the Black 26:41.180 --> 26:43.180 Path of Fear, starring Brian 26:43.180 --> 26:45.180 Donlevy. Tonight's study in 26:45.180 --> 26:47.180 Suspense. 26:47.180 --> 26:49.180 Suspense is 26:49.180 --> 26:51.180 produced and directed by 26:51.180 --> 26:53.180 William Spear. Have you 26:53.180 --> 26:55.180 discovered the secret of lovers of 26:55.180 --> 26:57.180 wine food? Namely, how 26:57.180 --> 26:59.180 good wine makes even the simplest, 26:59.180 --> 27:01.180 most inexpensive meals really 27:01.180 --> 27:03.180 exciting events. 27:03.180 --> 27:05.180 Well, the next time you serve any of the red meats, 27:05.180 --> 27:07.180 stews, fish, or poultry, 27:07.180 --> 27:09.180 place on the table a well-chilled 27:09.180 --> 27:11.180 bottle of Roma California 27:11.180 --> 27:13.180 Table Wine. Delicious sautern, 27:13.180 --> 27:15.180 hearty, burgundy, or tasty 27:15.180 --> 27:17.180 claret. You will be amazed 27:17.180 --> 27:19.180 at how much Roma wine, in 27:19.180 --> 27:21.180 bringing out all the appetizing goodness 27:21.180 --> 27:23.180 of even the simplest foods, 27:23.180 --> 27:25.180 adds to the pleasure of the meal. 27:25.180 --> 27:27.180 How it makes even a simple meal 27:27.180 --> 27:29.180 a feast. And remember, 27:29.180 --> 27:31.180 Roma wines cost you 27:31.180 --> 27:33.180 only pennies a glass full. 27:33.180 --> 27:35.180 So any home can afford the pleasure 27:35.180 --> 27:37.180 they give to everyday living. 27:37.180 --> 27:39.180 Ask for R.O.M.A. 27:39.180 --> 27:41.180 Roma Wines, 27:41.180 --> 27:43.180 America's largest selling 27:43.180 --> 27:45.180 wines, made in California 27:45.180 --> 27:47.180 for enjoyment 27:47.180 --> 27:49.180 throughout the world. 27:49.180 --> 27:51.180 This is Brian 27:51.180 --> 27:53.180 Levy. Our government has 27:53.180 --> 27:55.180 asked us to bring to the attention 27:55.180 --> 27:57.180 of women listeners a very important message. 27:57.180 --> 27:59.180 In spite of our wonderful 27:59.180 --> 28:01.180 victories on all the fighting fronts, 28:01.180 --> 28:03.180 we must remember that the war is by no 28:03.180 --> 28:05.180 means over or nearly over. 28:05.180 --> 28:07.180 Hundreds of thousands of women must 28:07.180 --> 28:09.180 get into war work this year. 28:09.180 --> 28:11.180 You are desperately needed, both 28:11.180 --> 28:13.180 because you are admirably fitted 28:13.180 --> 28:15.180 for these jobs, and because 28:15.180 --> 28:17.180 you represent the only adequate source 28:17.180 --> 28:19.180 of labor to replace the men 28:19.180 --> 28:21.180 in the armed forces and in the heavy war industries. 28:21.180 --> 28:23.180 Go to the United States 28:23.180 --> 28:25.180 Employment Service Office 28:25.180 --> 28:27.180 and ask for information about the kinds 28:27.180 --> 28:29.180 of full-time or part-time jobs 28:29.180 --> 28:31.180 for which you are best suited. 28:31.180 --> 28:33.180 Brian Don Levy will soon 28:33.180 --> 28:35.180 be seen in the starring role of 28:35.180 --> 28:37.180 Metro-Goldwyn-Mayer's Technicolor Production, 28:37.180 --> 28:39.180 An American Romance. 28:39.180 --> 28:41.180 Next Thursday, 28:41.180 --> 28:43.180 same time, Olivia 28:43.180 --> 28:45.180 de Havilland and Reginald Gardner 28:45.180 --> 28:47.180 will be your stars of 28:47.180 --> 28:49.180 suspense. 28:51.180 --> 28:53.180 Presented by Roma Wines, 28:53.180 --> 28:55.180 R-O-M-A, 28:55.180 --> 28:57.180 made in California 28:57.180 --> 28:59.180 for enjoyment 28:59.180 --> 29:19.180 throughout the world. 29:19.180 --> 29:21.180 This is CBS, 29:21.180 --> 29:37.180 the Columbia Broadcasting System.