WEBVTT 00:00.000 --> 00:04.000 Now, Roma wines present. 00:12.000 --> 00:14.000 Suspense. 00:19.000 --> 00:23.000 Tonight, The Brighton Strangler starring John Loder with June Dupre. 00:23.000 --> 00:27.000 Suspense is presented for your enjoyment by Roma Wines. 00:27.000 --> 00:30.000 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 --> 00:37.000 To your happiness and entertaining guests. 00:37.000 --> 00:40.000 To your enjoyment of everyday meals. 00:40.000 --> 00:43.000 Yes, right now a glass full would be very pleasant. 00:43.000 --> 00:46.000 As Roma Wines bring you... 00:46.000 --> 00:48.000 Suspense. 00:48.000 --> 00:53.000 This is the man in black here for the Roma Wine Company of Fresno, California. 00:53.000 --> 00:57.000 Who tonight from Hollywood bring you a radio play by Robert L. Richards. 00:57.000 --> 01:01.000 Based on the RKO picture, The Brighton Strangler. 01:01.000 --> 01:08.000 The stars of the production are appearing with us this evening in this drama of an actor who specialized in murder. 01:08.000 --> 01:13.000 And of a girl who became the unwilling heroine in a real life play. 01:13.000 --> 01:18.000 And so with The Brighton Strangler and with the performances of John Loder and June Dupre, 01:18.000 --> 01:20.000 we again hope to keep you in... 01:20.000 --> 01:22.000 Suspense. 01:32.000 --> 01:34.000 Ten. 01:37.000 --> 01:39.000 Eleven. 01:39.000 --> 01:43.000 Eleven. 01:43.000 --> 01:45.000 Twelve. 01:45.000 --> 01:48.000 Midnight and the New Year. 01:48.000 --> 01:53.000 Oh, Edward, it's been such a lovely holiday. 01:53.000 --> 01:56.000 April, my dear, I wouldn't stand too near the edge. 01:56.000 --> 01:59.000 The rail is very low and it's quite a drop to the street. 01:59.000 --> 02:01.000 I was only looking over the city. 02:01.000 --> 02:04.000 It's even a lovely night to have a holiday end. 02:04.000 --> 02:06.000 As long as it must end. 02:06.000 --> 02:09.000 All lovely things must end, my dear. 02:09.000 --> 02:11.000 Shall we join the others? 02:11.000 --> 02:13.000 It's a bit chilly out here on the terrace, don't you think? 02:13.000 --> 02:16.000 No, we can't go in just yet because... 02:16.000 --> 02:17.000 Because what? 02:17.000 --> 02:20.000 Because something has to happen first. 02:20.000 --> 02:21.000 What has to happen? 02:21.000 --> 02:25.000 You know what happened to the Lord Mayor of Brighton, don't you? 02:25.000 --> 02:27.000 He... Well, he was strangled. 02:27.000 --> 02:29.000 On Christmas Day. 02:29.000 --> 02:31.000 And the Chief Inspector? 02:31.000 --> 02:34.000 Three days later he was strangled too, wasn't he? 02:34.000 --> 02:36.000 Edward. 02:36.000 --> 02:38.000 Don't try to pretend you haven't guessed who I am. 02:38.000 --> 02:41.000 No, Edward. You couldn't be... 02:41.000 --> 02:45.000 Go on, say it. The Brighton Strangler. 02:45.000 --> 02:46.000 You couldn't... 02:46.000 --> 02:48.000 But I did. 02:48.000 --> 02:50.000 My alibi for the Lord Mayor was very simple. 02:50.000 --> 02:52.000 I merely turned his watch back. 02:52.000 --> 02:57.000 And for the Chief Inspector, you yourself supplied me with an alibi. 02:57.000 --> 02:58.000 Remember? 02:58.000 --> 03:00.000 But why? Why? 03:00.000 --> 03:04.000 Because ten years ago they conspired to send an innocent man to prison. 03:04.000 --> 03:06.000 And that innocent man was me. 03:06.000 --> 03:11.000 And now you, my dear, are the only person alive who knows. 03:11.000 --> 03:15.000 Edward, listen to me. We're in London. It's New Year's Eve. 03:15.000 --> 03:17.000 Don't you remember how... 03:17.000 --> 03:19.000 The silk cord... 03:19.000 --> 03:22.000 Edward. Edward, you're not going to... 03:22.000 --> 03:23.000 Yes. 03:23.000 --> 03:26.000 Help! Help! 03:26.000 --> 03:30.000 That's him! Stop! Stop or I'll shoot! 03:31.000 --> 03:33.000 You've got him! 03:34.000 --> 03:39.000 Dead. At last. The Brighton Strangler. 03:45.000 --> 03:48.000 Thank you very much. Thank you. Thank you. 03:48.000 --> 03:56.000 Good night. 04:01.000 --> 04:04.000 Oh, Reggie, it's so good. It's so good. I can't bear to close it. 04:04.000 --> 04:06.000 And it's making so much money. 04:06.000 --> 04:08.000 Well, you're the producer. Don't close it. Put someone else in the park. 04:08.000 --> 04:11.000 You know I can't do that. People don't come to see the Brighton Strangler. 04:11.000 --> 04:15.000 They came to see you, Reggie. To the public, you are the Brighton Strangler. 04:15.000 --> 04:16.000 Not after tonight. I'm not. 04:16.000 --> 04:20.000 I can't understand you, Reggie. Walking out on a play that gave you fame and fortune. 04:20.000 --> 04:23.000 I'm fed up. Fed to the teeth with it. That's all. 04:23.000 --> 04:26.000 Reggie, look, look, look. I won't speak for the play itself. It's only mediocre. 04:26.000 --> 04:29.000 I'll grant you that. But you've given it something. 04:29.000 --> 04:34.000 Just by sheer force of personality, you've made it authentic, terrifying, a tremendous psychological drama. 04:34.000 --> 04:37.000 That's just it. Now, look here, Sheldon. 04:37.000 --> 04:43.000 Has it ever occurred to you that a man might feel if he strangled one more person, he'd go stark, raving mad? 04:43.000 --> 04:47.000 Oh, but it's only a play, Reggie. Just make believe. 04:47.000 --> 04:50.000 Oh, you ought to know by this time that you're an actor, a good actor. 04:50.000 --> 04:52.000 It's never entirely make believe. 04:52.000 --> 04:55.000 Yes, yes. Now, look here, Reggie, look here. I'll tell you what I'll do. I'll... 04:55.000 --> 04:57.000 I don't want to talk about it. Leave me alone, can't you? 04:57.000 --> 04:58.000 But, Reggie, I... 04:58.000 --> 05:01.000 Leave me alone. Can't you understand? Leave me alone. 05:01.000 --> 05:04.000 All right, all right, all right. There's no need to get edgy. 05:04.000 --> 05:10.000 Oh, I'm sorry. Got any plans? Some service canteen shows? 05:10.000 --> 05:13.000 Well, if I don't see you, Merry Christmas. 05:13.000 --> 05:16.000 Yes, Merry Christmas. Good night. 05:22.000 --> 05:24.000 Uh-uh, air raid. 05:26.000 --> 05:28.000 Sheldon, Sheldon! 05:28.000 --> 05:31.000 Gone. Everyone's gone. 05:31.000 --> 05:34.000 No time to make the shelter now. Best stay here, I suppose. 05:34.000 --> 05:36.000 Getting close. 05:37.000 --> 05:39.000 Too close. 05:39.000 --> 05:41.000 This is it. 05:51.000 --> 05:53.000 My head. 05:54.000 --> 05:56.000 It hurts. 05:56.000 --> 05:58.000 It hurts. 05:58.000 --> 06:00.000 Got to get out of here. 06:00.000 --> 06:02.000 Somehow. 06:02.000 --> 06:05.000 But where? Where? 06:05.000 --> 06:07.000 Where? 06:07.000 --> 06:10.000 Ah, take care of some of the chaps now. 06:10.000 --> 06:12.000 Are you all right, sir? 06:12.000 --> 06:15.000 Oh, you got a nasty gash on your head, haven't you? 06:15.000 --> 06:18.000 All right, why... Yes, yes, I'm all right. 06:18.000 --> 06:20.000 Oh, here. Don't forget your suitcase, sir. 06:20.000 --> 06:22.000 Suitcase? 06:22.000 --> 06:25.000 Yes. Where are you going? Victoria Station? 06:25.000 --> 06:29.000 Huh? Yes. Victoria Station. 06:29.000 --> 06:31.000 How many? 06:31.000 --> 06:33.000 Three return tickets to Washington. 06:33.000 --> 06:35.000 Here you are. 06:35.000 --> 06:36.000 Yours? 06:36.000 --> 06:38.000 Return to Rottingdean, if you please. 06:38.000 --> 06:40.000 Right. Next? 06:40.000 --> 06:42.000 Single to Brighton. 06:43.000 --> 06:44.000 Brighton. 06:44.000 --> 06:47.000 Next. What's yours, sir? 06:47.000 --> 06:49.000 Single to Brighton. 06:53.000 --> 06:55.000 I'm sorry, sir. 06:55.000 --> 06:57.000 I'm sorry. 06:57.000 --> 06:59.000 I'm sorry. 07:06.000 --> 07:09.000 Tonight for Suspense, Roma Wines are bringing you as stars 07:09.000 --> 07:12.000 Mr. John Loder and Miss June Dupre 07:12.000 --> 07:16.000 in The Brighton Strangler, tonight's tale of Suspense. 07:16.000 --> 07:19.000 When you listen to the friendly advice of Miss Elsa Maxwell 07:19.000 --> 07:21.000 about hospitality and gracious living, 07:21.000 --> 07:23.000 you realize that here is an authority 07:23.000 --> 07:26.000 who talks plain, common sense all the time. 07:26.000 --> 07:29.000 I'm talking to men as well as women 07:29.000 --> 07:33.000 when I say that the finest hospitality is always simple, 07:33.000 --> 07:35.000 sincere, moderate, and natural. 07:35.000 --> 07:37.000 Never the opposite. 07:37.000 --> 07:39.000 I'm talking to you. 07:39.000 --> 07:41.000 I'm talking to you. 07:41.000 --> 07:43.000 I'm talking to you. 07:43.000 --> 07:46.000 I'm talking to you. 07:46.000 --> 07:50.000 And so I'm always emphasizing that the nicest, simplest, 07:50.000 --> 07:53.000 most sincerely flattering hospitality 07:53.000 --> 07:56.000 is to serve your guests some Roma Sherry 07:56.000 --> 07:58.000 with its golden amber color, 07:58.000 --> 08:01.000 its deliciously tangy nut-like flavor. 08:01.000 --> 08:04.000 It's not only supremely enjoyable before dinner 08:04.000 --> 08:06.000 or in the afternoon. 08:06.000 --> 08:08.000 It's smartly correct, 08:08.000 --> 08:12.000 of genuine compliment to your friends and to yourself. 08:12.000 --> 08:15.000 And please don't worry about special glasses. 08:15.000 --> 08:18.760 It's perfectly correct to use any nice glasses that are handy. 08:18.760 --> 08:21.600 Well, Miss Maxwell speaks more authoritatively than I can, 08:21.600 --> 08:23.140 but I will add this. 08:23.140 --> 08:26.440 Roma sherry, like all famous Roma wines, 08:26.440 --> 08:29.980 made from California's magnificent sun-ripened grapes, 08:29.980 --> 08:33.640 brings you all their fine flavor, aroma, and color. 08:33.640 --> 08:37.220 It's unvaryingly good, always enjoyable, 08:37.220 --> 08:41.020 thanks to the age-old wine skill of Roma's noted wineries 08:41.020 --> 08:44.560 located in the choicest vineyard areas of California. 08:44.560 --> 08:47.360 Yet all this goodness and pleasure is yours, 08:47.360 --> 08:49.460 or only panties a glass. 08:49.460 --> 08:55.000 Remember, more Americans enjoy Roma than any other wines. 08:55.000 --> 09:00.140 Roma, R-O-M-A, Roma wines. 09:00.140 --> 09:03.040 And now it is with pleasure that we bring back to our soundstage 09:03.040 --> 09:05.640 Mr. John Loder as Reginald Parker 09:05.640 --> 09:08.080 and June Dupre as April Manby, 09:08.080 --> 09:12.020 who now takes up the narrative concerning The Bright and Strangler, 09:12.020 --> 09:16.020 a tale well calculated to keep you in suspense. 09:16.020 --> 09:18.020 ["The Bright and Strangler"] 09:24.020 --> 09:27.200 Somehow from that very first moment, I was drawn to him. 09:27.200 --> 09:30.900 He was handsome and attractive, yes, but it wasn't that. 09:30.900 --> 09:34.100 He seemed so lonely, so much in need of help. 09:34.100 --> 09:36.600 And then on the train, when I thought that he'd really been hurt, 09:36.600 --> 09:39.640 I just threw convention to the winds and took charge of him. 09:39.640 --> 09:43.840 You've been very kind. 09:43.840 --> 09:46.020 Well, if someone had to put a bit of sticking plaster 09:46.020 --> 09:47.780 on that head of yours. 09:47.780 --> 09:49.420 Are you sure you're all right now? 09:49.420 --> 09:50.920 Oh, quite, thank you. 09:50.920 --> 09:52.620 You must have been terrible. 09:52.620 --> 09:54.360 I heard about the theater. 09:54.360 --> 09:55.520 The theater? 09:55.520 --> 09:57.160 Yes, of course I recognized you 09:57.160 --> 09:59.100 the minute you stepped into the compartment. 09:59.100 --> 10:00.100 What? 10:00.100 --> 10:02.600 You are Reginald Parker, the actor, aren't you? 10:02.600 --> 10:05.300 I've seen your picture on the billboards dozens of times. 10:05.300 --> 10:06.800 Reginald Parker. 10:06.800 --> 10:08.500 And I've been dying to tell you. 10:08.500 --> 10:10.000 My name is April. 10:10.000 --> 10:11.000 April? 10:11.000 --> 10:13.500 Mm-hmm, that's the name of the girl in your play, isn't it? 10:13.500 --> 10:15.180 And I'm from Brighton. 10:15.180 --> 10:16.680 April from Brighton. 10:16.680 --> 10:19.280 Only, of course, my last name is Nandy. 10:19.280 --> 10:21.520 That's what I'm going to, Brighton. 10:21.520 --> 10:23.520 Why isn't that nice? 10:23.520 --> 10:25.520 We do have a lot in common, don't we? 10:25.520 --> 10:28.020 Yes, a great deal, I think. 10:28.020 --> 10:32.120 Oh, we can have such wonderful times in Brighton over the holidays. 10:32.120 --> 10:35.840 You know, I was wondering if you wouldn't think it forward of me. 10:35.840 --> 10:36.840 What? 10:36.840 --> 10:40.640 Well, my family's having a party at our house on Christmas Day. 10:40.640 --> 10:43.140 Lord Mayor and a lot of people are going to be there. 10:43.140 --> 10:44.140 The Lord Mayor? 10:44.140 --> 10:46.140 Yes, and if you'd like to come. 10:46.140 --> 10:49.840 I mean, I'm really not a celebrity, aren't you, no? 10:49.840 --> 10:51.140 But if you'd really like to come... 10:51.140 --> 10:52.740 I'd be delighted. 10:52.740 --> 10:54.960 Oh, Mr. Parker, that would be wonderful. 10:54.960 --> 10:58.320 April, why don't you call me Edward? 10:58.320 --> 10:59.320 Edward? 10:59.320 --> 11:02.960 Oh, you mean Reginald Parker's only your stage name? 11:02.960 --> 11:03.960 Yes, sir. 11:03.960 --> 11:05.960 Yes, sir, stage name. 11:05.960 --> 11:07.300 Isn't that odd? 11:07.300 --> 11:11.440 I always knew actors had stage names, but I always thought yours was real. 11:11.440 --> 11:13.680 But I think I'd rather call you Reginald. 11:13.680 --> 11:16.080 Or at least introduce you to my family that way. 11:16.080 --> 11:18.600 It's so sort of confusing, two names. 11:18.600 --> 11:20.600 Well, what's in a name? 11:20.600 --> 11:23.600 It's, after all, what is. 11:23.600 --> 11:28.680 Reginald, what's that little silk cord you keep twisting in your hands? 11:28.680 --> 11:29.680 Oh, this? 11:29.680 --> 11:30.680 Yes. 11:30.680 --> 11:34.160 I use this to strangle people. 11:34.160 --> 11:35.160 What? 11:35.160 --> 11:38.120 Oh, you mean in the play? 11:38.120 --> 11:40.160 Yes, in the play. 11:40.160 --> 11:42.160 Do you always carry it about with you? 11:42.160 --> 11:43.160 Always. 11:43.160 --> 11:44.160 Why? 11:44.160 --> 11:45.160 Oh, I don't know. 11:45.160 --> 11:46.160 For luck, I suppose. 11:46.160 --> 11:50.440 I've heard of actors having superstitions like that. 11:50.440 --> 11:55.280 Do you have many friends in Brighton? 11:55.280 --> 11:56.280 Friends? 11:56.280 --> 11:59.200 Acquaintances, I haven't been back for ten years. 11:59.200 --> 12:01.200 Don't scarcely remember you, will they? 12:01.200 --> 12:03.940 The ones who are important will remember me. 12:03.940 --> 12:07.480 They will remember me very well. 12:07.480 --> 12:25.640 Hello there, am I late? 12:25.640 --> 12:28.400 Oh, no, right on the dot. 12:28.400 --> 12:29.400 Just 5.30 now. 12:29.400 --> 12:30.400 Here, let me take your coat. 12:30.400 --> 12:31.400 Thanks. 12:31.400 --> 12:32.400 Now, come along and meet everyone. 12:32.400 --> 12:33.400 I'm so anxious for you to meet my parents. 12:33.400 --> 12:34.400 I've told them so much about you. 12:34.400 --> 12:35.400 I didn't realize you knew so much about me. 12:35.400 --> 12:36.400 You know what I mean. 12:36.400 --> 12:37.400 Mother, I want you to meet Mr. Reginald Parker. 12:37.400 --> 12:38.400 How do you do, Mr. Parker? 12:38.400 --> 12:39.400 How do you do? 12:39.400 --> 12:40.400 Mrs. Shackleton. 12:40.400 --> 12:41.400 How do you do? 12:41.400 --> 12:42.400 Mr. Shackleton. 12:42.400 --> 12:43.400 How are you? 12:43.400 --> 12:44.400 My father, Dr. Manby. 12:44.400 --> 12:45.400 How are you? 12:45.400 --> 12:46.400 I'm fine. 12:46.400 --> 12:47.400 I'm fine. 12:47.400 --> 12:48.400 I'm fine. 12:48.400 --> 12:49.400 I'm fine. 12:49.400 --> 12:50.400 I'm fine. 12:50.400 --> 12:51.400 I'm fine. 12:51.400 --> 12:52.400 I'm fine. 12:52.400 --> 12:53.400 I'm fine. 12:53.400 --> 12:54.400 I'm fine. 12:54.400 --> 12:55.720 My father, Dr. Manby. 12:55.720 --> 12:56.720 How do you do, sir? 12:56.720 --> 12:57.720 And Chief Inspector Allison. 12:57.720 --> 12:58.720 How do you do? 12:58.720 --> 12:59.720 Well, everyone's here now but the Lord Mayor. 12:59.720 --> 13:00.720 I wonder what can be keeping him. 13:00.720 --> 13:01.720 Well, it's barely 5.30 now. 13:01.720 --> 13:02.720 It's a bit of a walk from his place. 13:02.720 --> 13:03.720 I expect you to be long directly. 13:03.720 --> 13:10.680 Well, Mr. Parker, it's a pleasure to meet you in the flesh, so to speak, sir. 13:10.680 --> 13:14.120 I have an impression that we have met in the flesh before, Inspector. 13:14.120 --> 13:16.720 Not that I recall, sir, and I'm sure that I would. 13:16.720 --> 13:21.360 I would have thought so too, Inspector, if only because of our mutual adventures in 13:21.360 --> 13:22.360 Villany. 13:22.360 --> 13:23.360 Eh? 13:23.360 --> 13:28.400 Well, I'm a practical criminologist, more supposed to be, and I must confess that I 13:28.400 --> 13:32.120 find most of these plays and films and so on about crime rather preposterous. 13:32.120 --> 13:33.120 Why? 13:33.120 --> 13:36.600 Why, in this day and age, a man can't draw about killing people without being caught. 13:36.600 --> 13:40.640 Once in a while, perhaps, but when you get these stories of chess with two, three, and 13:40.640 --> 13:43.880 a whole string of victims, oh, no, no, no, no, never. 13:43.880 --> 13:47.400 But Inspector, they always are caught in the end, if only to prove to the kiddies that 13:47.400 --> 13:48.840 crime doesn't pay. 13:48.840 --> 13:50.920 But supposing it were the perfect crime. 13:50.920 --> 13:52.920 Oh, gosh, there's no such thing. 13:52.920 --> 13:53.920 Really? 13:53.920 --> 13:57.760 Ah, are you interested in criminology, Mr. Parker? 13:57.760 --> 13:59.880 We ought to get together some evening while you're here. 13:59.880 --> 14:02.960 Perhaps I could give you a few experiences of my own that would amuse you. 14:02.960 --> 14:05.200 I should be delighted, Inspector. 14:05.200 --> 14:07.280 In fact, I shall make a point of it. 14:07.280 --> 14:08.280 Good. 14:08.280 --> 14:09.280 Excuse me a moment. 14:09.280 --> 14:10.280 Hello? 14:10.280 --> 14:11.280 Yes? 14:11.280 --> 14:12.280 Yes, I'll call you. 14:12.280 --> 14:13.280 It's for you, Daddy. 14:13.280 --> 14:14.280 Oh, thank you, my dear. 14:14.280 --> 14:15.280 Yes? 14:15.280 --> 14:16.280 Yes, this is Dr. Manvey speaking. 14:16.280 --> 14:23.280 What? 14:23.280 --> 14:26.280 Good Lord. 14:26.280 --> 14:27.280 Yes, yes. 14:27.280 --> 14:30.680 Very well, I'll tell him and I'll come over at once. 14:30.680 --> 14:31.680 What is it? 14:31.680 --> 14:32.680 What's wrong? 14:32.680 --> 14:34.720 A terrible thing has just happened. 14:34.720 --> 14:36.360 We'll need you on this, I'm afraid, Inspector. 14:36.360 --> 14:37.360 Now, what's happened? 14:37.360 --> 14:39.080 The Lord Mayor has been murdered. 14:39.080 --> 14:40.080 Heard of it? 14:40.080 --> 14:41.080 Can't understand it. 14:41.080 --> 14:43.480 Why, he didn't have an enemy in the world. 14:43.480 --> 14:44.480 When did it happen? 14:44.480 --> 14:46.520 He left his house at 5.15 to come over here. 14:46.520 --> 14:50.480 He was apparently attacked by someone who'd been lurking in the shrubbery of his own grounds. 14:50.480 --> 14:51.480 He was killed at 5.30. 14:51.480 --> 14:55.760 His watch had been smashed during the struggle and that's when it stopped. 14:55.760 --> 14:58.240 And how was he killed, Doctor? 14:58.240 --> 15:03.240 He was strangled. 15:03.240 --> 15:09.400 It was fantastic, of course. 15:09.400 --> 15:12.120 But there it was, that terrible coincidence. 15:12.120 --> 15:14.160 The strangling in Brighton. 15:14.160 --> 15:18.360 I must confess that my main concern was for Reggie. 15:18.360 --> 15:23.480 The way everyone glanced at him, the polite standoffish way they talked to him, was enough 15:23.480 --> 15:27.800 to show they thought that somehow he was responsible for the dreadful thing that had happened. 15:27.800 --> 15:32.200 As for myself, I felt almost as badly as he did and thought I'd never known anyone quite 15:32.200 --> 15:33.200 so brave. 15:33.200 --> 15:36.960 But it was clear he wanted to get away and he was quite free to go. 15:36.960 --> 15:40.000 And yet he stayed on in Brighton, so compelled to. 15:40.000 --> 15:46.320 Perhaps by a strange feeling that he mustn't run off until the mystery had been solved. 15:46.320 --> 15:49.920 He even made a little joke about it that night that I drove him to the concert. 15:49.920 --> 15:52.200 Well, this is one way of facing the music. 15:52.200 --> 15:54.240 Reggie, you must have said that. 15:54.240 --> 15:55.240 I'm sorry. 15:55.240 --> 15:57.240 I hope you didn't mind too much driving me down. 15:57.240 --> 15:58.240 Of course I didn't. 15:58.240 --> 16:02.480 I know you must think I'm a low dog for picking the one night when you wouldn't come along. 16:02.480 --> 16:05.560 But it's their only program of Rimsky-Korsakov and I couldn't bear to miss it. 16:05.560 --> 16:08.880 I'll come another time, if you want me to. 16:08.880 --> 16:11.800 I want you to very much. 16:11.800 --> 16:17.800 Reggie, did you ever think that a play might have an effect on people who saw it? 16:17.800 --> 16:18.800 How? 16:18.800 --> 16:22.040 That someone might see it and want to do the same thing? 16:22.040 --> 16:23.040 Oh. 16:23.040 --> 16:25.480 Reggie, I think that's what happened. 16:25.480 --> 16:30.360 I think that someone saw your play and is trying to do the same thing in real life. 16:30.360 --> 16:32.840 Some poor creature with a twisted mind. 16:32.840 --> 16:33.840 A twisted mind? 16:33.840 --> 16:36.120 Please don't think I'm blaming you. 16:36.120 --> 16:40.240 But a play like that should never have been written, should never have been allowed. 16:40.240 --> 16:42.800 Perhaps it was just fated to be that way. 16:42.800 --> 16:47.080 It's the only thing I can think of to explain the things that have happened. 16:47.080 --> 16:49.640 Does it make a great deal of difference to you? 16:49.640 --> 16:50.640 Difference? 16:50.640 --> 16:52.800 In the way you feel about me. 16:52.800 --> 16:55.160 Oh, Reggie, no. 16:55.160 --> 17:00.640 I'm glad of that because I think quite soon now, perhaps after tonight, I shall have something 17:00.640 --> 17:03.400 very important to tell you, April. 17:03.400 --> 17:04.400 Oh. 17:04.400 --> 17:07.680 Well, here we are. 17:07.680 --> 17:08.760 Thanks for bringing me. 17:08.760 --> 17:09.760 And you will pick me up. 17:09.760 --> 17:10.760 At 11.30 sharp. 17:10.760 --> 17:11.760 Tickets? 17:11.760 --> 17:12.760 Tickets, please, sir. 17:12.760 --> 17:13.760 Here you are. 17:13.760 --> 17:14.760 First dollar on your right, sir. 17:14.760 --> 17:15.760 First seat in the last row. 17:15.760 --> 17:16.760 Am I late? 17:16.760 --> 17:17.760 No, sir. 17:17.760 --> 17:18.760 It's just about to begin, sir. 17:18.760 --> 17:41.720 Goodbye my dear. 17:48.760 --> 17:49.760 Inspector. 17:49.760 --> 17:50.760 Hello there, Parker. 17:50.760 --> 17:51.760 Come in, come in. 17:51.760 --> 17:52.760 Thank you. 17:52.760 --> 17:53.760 I was just listening to a little music on my telephone. 17:53.760 --> 17:54.760 Do you know it? 17:54.760 --> 17:55.760 Cherizade? 17:55.760 --> 17:56.760 Yes, it's just 42 minutes long. 17:56.760 --> 17:57.760 Oh, is it? 17:57.760 --> 17:58.760 I never timed it. 17:58.760 --> 17:59.760 Yeah, make yourself comfortable by the fire. 17:59.760 --> 18:00.760 I was rather hoping you'd pick this evening to drop in. 18:00.760 --> 18:01.760 I'm all alone. 18:01.760 --> 18:02.760 I remember you said you'd be. 18:02.760 --> 18:03.760 You have quite the temper. 18:03.760 --> 18:04.760 I'm not a man of my word. 18:04.760 --> 18:05.760 I'm a man of my word. 18:05.760 --> 18:06.760 I'm a man of my word. 18:06.760 --> 18:07.760 I'm a man of my word. 18:07.760 --> 18:08.760 I'm a man of my word. 18:08.760 --> 18:09.760 I'm a man of my word. 18:09.760 --> 18:10.760 I'm a man of my word. 18:10.760 --> 18:11.760 I'm a man of my word. 18:11.760 --> 18:12.760 I'm a man of my word. 18:12.760 --> 18:18.900 I remember you said you'd be. 18:18.900 --> 18:23.600 And I see you collect other things, as well. 18:23.600 --> 18:26.040 Oh, oh, my private chamber of horrors. 18:26.040 --> 18:27.040 Interested? 18:27.040 --> 18:28.040 Very much. 18:28.040 --> 18:31.300 Of course you did want to talk about crime, didn't you? 18:31.300 --> 18:35.440 Well, each of these things are rather gruesome, most of them to you, I expect. 18:35.440 --> 18:36.920 It's like a trophy to me. 18:36.920 --> 18:38.260 Now, take this butcher knife. 18:38.260 --> 18:41.200 You can imagine what that was used for, I suppose. 18:41.200 --> 18:42.200 His wife? 18:42.200 --> 18:45.200 Carved her up and put her in a trunk and checked her at Brighton Station. 18:45.200 --> 18:48.200 We didn't find her for three months. Never did find her head. 18:48.200 --> 18:50.200 We got the chap, though. 18:50.200 --> 18:53.200 Now, here's something you don't see very often. 18:53.200 --> 18:54.200 A hangman's noose. 18:54.200 --> 18:58.200 Yes, the fellow who wore that collar last got me my biggest promotion. 18:58.200 --> 19:02.200 It must be a great moment of satisfaction when the bolt is pulled, 19:02.200 --> 19:05.200 the rope tightens, and you know your murder is done for. 19:05.200 --> 19:07.200 Yes, it is, for a fact. 19:07.200 --> 19:11.200 But there's one trophy I intend to have here that'll make me prouder than all the rest. 19:11.200 --> 19:15.200 Just a little thing it is, too. Just a bit of cord. 19:15.200 --> 19:18.200 You mean the cord that was used to strangle the Lord Mayor? 19:18.200 --> 19:20.200 Right you are, and I'll get it. 19:20.200 --> 19:25.200 Many years ago, ten years to be exact, before the Lord Mayor was the Lord Mayor, 19:25.200 --> 19:28.200 he was a barrister defending a client in a court of law. 19:28.200 --> 19:31.200 And let us suppose that instead of defending his client, 19:31.200 --> 19:35.200 he betrayed him to the prosecution and the man went to prison. 19:35.200 --> 19:38.200 And let us suppose that the man returned one day, 19:38.200 --> 19:41.200 after all those years in prison, to take revenge. 19:41.200 --> 19:42.200 And he took it. 19:42.200 --> 19:45.200 Very imaginative theory, Mr. Parker. 19:45.200 --> 19:48.200 Why don't you drop into my office tomorrow and we'll discuss it further. 19:48.200 --> 19:51.200 Ah, but you've only heard half of my theory, Inspector. 19:51.200 --> 19:54.200 Let us also suppose that the representative of the prosecution 19:54.200 --> 19:56.200 to whom this innocent man was betrayed 19:56.200 --> 20:01.200 was someone more interested in collecting trophies than in seeing justice. 20:01.200 --> 20:03.200 An ambitious man. 20:03.200 --> 20:06.200 A chief inspector of police, shall we say. 20:06.200 --> 20:09.200 Someone like you, Inspector. 20:09.200 --> 20:11.200 Really, Mr. Parker? 20:11.200 --> 20:15.200 Then it would also follow that our man would strangle you, wouldn't it, Inspector? 20:15.200 --> 20:18.200 I'm afraid playacting has influenced your judgment, sir. 20:18.200 --> 20:19.200 This is no play, Inspector. 20:19.200 --> 20:21.200 Oh, you couldn't get away with a thing like this. 20:21.200 --> 20:22.200 You've said that before. 20:22.200 --> 20:23.200 People know where you are. 20:23.200 --> 20:25.200 Exactly, you see, I am at a concert. 20:25.200 --> 20:37.200 No! 20:37.200 --> 20:39.200 Oh, there you are. 20:39.200 --> 20:40.200 Been waiting long? 20:40.200 --> 20:42.200 No, it's just over. 20:42.200 --> 20:43.200 Did you enjoy it? 20:43.200 --> 20:46.200 I don't think I've ever enjoyed a concert quite so much in all my life. 20:46.200 --> 20:47.200 Really? 20:47.200 --> 20:49.200 Do you have a wireless in your car? 20:49.200 --> 20:51.200 Yes, there it is, right in front of you. 20:51.200 --> 20:52.200 Oh, yes, of course. 20:52.200 --> 20:54.200 I thought we might hear a bit of news. 20:54.200 --> 20:55.200 Mm-hmm. 20:55.200 --> 20:58.200 Under intense anti-aircraft fire, the raiders were driven off. 20:58.200 --> 21:03.200 However, with only a minimum of damage to non-military objectives. 21:03.200 --> 21:06.200 I have just been handed a dispatch from Brighton. 21:06.200 --> 21:08.200 The Brighton Strangler has struck again. 21:08.200 --> 21:10.200 At approximately 11 o'clock tonight, 21:10.200 --> 21:14.200 Chief Inspector Allison of the Brighton police force was found dead in his flat. 21:14.200 --> 21:15.200 Reggie. 21:15.200 --> 21:18.200 He had apparently been murdered in the same manner as the Lord Mayor of Brighton, 21:18.200 --> 21:21.200 only three days before by strangling. 21:21.200 --> 21:23.200 Again, there were no clues to the killer. 21:23.200 --> 21:24.200 Reggie. 21:24.200 --> 21:28.200 It's fortunate, my dear, that you and others know I was at the concert this evening. 21:28.200 --> 21:29.200 Fortunate? 21:29.200 --> 21:34.200 Because otherwise it might seem almost one coincidence too many. 21:39.200 --> 21:41.200 Coincidence? 21:41.200 --> 21:45.200 Suddenly all this coincidence that it seemed only the trickery of an impossible nightmare 21:45.200 --> 21:48.200 became the evidence of terrible reality. 21:48.200 --> 21:50.200 How I managed to maintain a semblance of calm 21:50.200 --> 21:53.200 as I drove him back to his hotel I shall never know. 21:53.200 --> 21:57.200 The next day he had left, and that afternoon he called me from London. 21:57.200 --> 21:59.200 He said it was most urgent that I see him. 21:59.200 --> 22:01.200 I knew that I must go. 22:01.200 --> 22:04.200 But first, I went to the police. 22:08.200 --> 22:11.200 It's Fort Faulkner who came to us first. 22:11.200 --> 22:13.200 Now, if you know where he is, Miss, we'll arrest him at once. 22:13.200 --> 22:14.200 But I don't know where he is. 22:14.200 --> 22:16.200 Besides, I have no proof. 22:16.200 --> 22:18.200 Neither of you, neither of anyone. 22:18.200 --> 22:19.200 There's all the proof we need, Miss. 22:19.200 --> 22:21.200 But don't you see the pattern? 22:21.200 --> 22:23.200 I'm to meet him at the Plaza Hotel. 22:23.200 --> 22:27.200 And the Plaza Hotel is a terrace, and tonight is New Year's Eve. 22:27.200 --> 22:29.200 And my name is April. 22:29.200 --> 22:30.200 You'll be taking your life in your hands, Miss. 22:30.200 --> 22:33.200 Maybe I'm wrong. I pray that I am. 22:33.200 --> 22:35.200 Maybe you won't have to do anything, and he'll come to you of his own accord 22:35.200 --> 22:37.200 when I tell him you want him. 22:37.200 --> 22:41.200 But if I'm not wrong, if this is the only way to save him, 22:41.200 --> 22:43.200 I'm the only person in the world who can do it. 22:43.200 --> 22:46.200 Well, what did you say the line in the play was? 22:46.200 --> 22:52.200 He says, and now you, my dear, the only person alive who knows. 22:52.200 --> 22:54.200 The only person alive who knows. 22:54.200 --> 22:56.200 You do have a script for the play, don't you? 22:56.200 --> 22:57.200 Oh, yes, yes. 22:57.200 --> 23:00.200 Because you'll have to come right in on cue. 23:00.200 --> 23:02.200 Do you have a copy of the play for yourself? 23:02.200 --> 23:19.200 I don't need one. I know it now by heart. 23:19.200 --> 23:24.200 Ten. 23:24.200 --> 23:29.200 Eleven. 23:29.200 --> 23:33.200 Twelve. Midnight and the New Year. 23:33.200 --> 23:37.200 Shall we go in? It's a bit chilly out here, don't you think? 23:37.200 --> 23:39.200 No, we can't go in just yet because... 23:39.200 --> 23:40.200 Because what? 23:40.200 --> 23:42.200 Because something has to happen first. 23:42.200 --> 23:43.200 What has to happen? 23:43.200 --> 23:48.200 You know what happened to the Lord Mayor of Brighton, don't you? 23:48.200 --> 23:51.200 And the Chief Inspector, he was strangled too, wasn't he? 23:51.200 --> 23:52.200 Reggie. 23:52.200 --> 23:54.200 Don't try to pretend you haven't guessed who I am. 23:54.200 --> 23:57.200 Reggie, this is where the lines are different from the play. 23:57.200 --> 23:58.200 I've known who you are. 23:58.200 --> 24:01.200 Go on, say it. The Brighton Strangler. 24:01.200 --> 24:04.200 And now you have a silk cord in your hands and you want to strangle me. 24:04.200 --> 24:07.200 But you mustn't. Who'll listen to me? Reggie. 24:07.200 --> 24:09.200 You've been sick, don't you understand? 24:09.200 --> 24:11.200 You've been sick and you've got to get well. 24:11.200 --> 24:15.200 And now you, my dear, are the only person alive who knows. 24:15.200 --> 24:16.200 Reggie, no. 24:16.200 --> 24:17.200 Yes. 24:17.200 --> 24:19.200 Applause, all of you. Applause. 24:19.200 --> 24:21.200 Applause. 24:21.200 --> 24:23.200 He's dead global, all right. 24:23.200 --> 24:25.200 But keep him covered all the same. 24:25.200 --> 24:28.200 Thank you. Thank you very much. Thank you. 24:28.200 --> 24:31.200 He's backing up to the railing. He'll fall. Stop him, someone. 24:31.200 --> 24:35.200 Thank you. Thank you very much. Thank you, everybody. 24:35.200 --> 24:36.200 Good night. 24:45.200 --> 24:50.200 So in a trance bowing as he had so often to so many enchanted audiences of the Brighton Strangler, 24:50.200 --> 24:55.200 he stepped backwards towards the low parapet as though again leaving a stage and fell. 24:55.200 --> 25:01.200 We found him on the pavement below. He was still alive. 25:01.200 --> 25:04.200 It's April from Brighton. 25:04.200 --> 25:07.200 We were bombed, weren't we? 25:07.200 --> 25:10.200 And then I heard applause. 25:10.200 --> 25:14.200 I think I'm hurt, but you'll help me, won't you? 25:14.200 --> 25:20.200 I want to take just one last curtain call. 25:26.200 --> 25:30.200 He died there in my arms. 25:30.200 --> 25:35.200 And so closes the Brighton Strangler based on the RKO picture 25:35.200 --> 25:38.200 and starring John Loder with June Dupre. 25:38.200 --> 25:41.200 Tonight's study in Suspense. 25:41.200 --> 25:45.200 Suspense is produced, edited and directed by William Spear. 25:45.200 --> 25:49.200 There is no reason at all, Elsa Maxwell says, 25:49.200 --> 25:34.320 to be a 25:34.320 --> 25:39.320 woman. 25:39.320 --> 25:43.320 Why everyone should not have the enjoyment of Roma wines. 25:43.320 --> 25:47.320 And so closes the Brighton Strangler based on the RKO picture 25:47.320 --> 25:50.320 and starring John Loder with June Dupre. 25:50.320 --> 25:53.320 Tonight's study in Suspense. 25:53.320 --> 25:57.320 Suspense is produced, edited and directed by William Spear. 25:57.320 --> 26:00.320 There is no reason at all, Elsa Maxwell says, 26:00.320 --> 26:04.320 why everyone should not have the enjoyment of Roma wines 26:04.320 --> 26:07.320 with everyday meals and when entertaining friends. 26:07.320 --> 26:12.320 These superb wines of California are so delightful to the taste, 26:12.320 --> 26:14.320 so very delicious with food, 26:14.320 --> 26:18.320 so smartly complementary to friends who are your guests. 26:18.320 --> 26:22.320 It seems a shame to me that some people still miss out on such 26:22.320 --> 26:26.320 wholesomely simple, moderate and inexpensive pleasure. 26:26.320 --> 26:29.320 But of course, Miss Maxwell, millions already do know 26:29.320 --> 26:31.320 and enjoy Roma wines. 26:31.320 --> 26:37.320 In fact, more Americans enjoy Roma than any other wines. 26:37.320 --> 26:41.320 And that can only mean Roma wines are California's finest. 26:41.320 --> 26:46.320 Always extra good, unvaryingly fine in flavor and quality. 26:46.320 --> 26:49.320 Yet, only pennies a glass. 26:49.320 --> 26:53.320 Roma, R-O-M-A, Roma wines. 26:53.320 --> 26:56.320 Before we bring you news about next week's program, 26:56.320 --> 26:59.320 I should like for our sponsors, the Roma Wine Company 26:59.320 --> 27:02.320 and for all of us who collaborate to bring you Suspense. 27:02.320 --> 27:05.320 Mr. Spear, our producer-director, 27:05.320 --> 27:07.320 Lud Gluskin, our conductor, 27:07.320 --> 27:09.320 Lucian Marowick, composer of our scores, 27:09.320 --> 27:12.320 Vern Surrey and Ralph Cummings, our sound crew, 27:12.320 --> 27:14.320 Bob Anderson, engineer, 27:14.320 --> 27:16.320 and Truman Bradley, our announcer, 27:16.320 --> 27:18.320 to wish you a very Merry Christmas. 27:18.320 --> 27:22.320 Next Thursday, same time, you will hear Miss Ida Lupino 27:22.320 --> 27:26.320 as star of Suspense. 27:26.320 --> 27:31.320 Presented by Roma wines, R-O-M-A, 27:31.320 --> 27:36.320 made in California for enjoyment throughout the world. 27:36.320 --> 27:39.320 An open telegram from Washington concerning the merchant marine, 27:39.320 --> 27:41.320 which should be listened to with vital interest 27:41.320 --> 27:44.320 by eligible members of our audience. 27:44.320 --> 27:48.320 United States shipbuilding program is being increased at enormous rate. 27:48.320 --> 27:51.320 Contracts have been awarded for hundreds of additional new ships. 27:51.320 --> 27:55.320 Every one of these ships must be manned by 40 to 50 men, 27:55.320 --> 27:58.320 most of them with previous sea experience. 27:58.320 --> 28:02.320 Long Pacific distances and expanding supply problems 28:02.320 --> 28:06.320 call for continuous employment of large numbers of men and ships 28:06.320 --> 28:09.320 until Japan is totally defeated. 28:09.320 --> 28:12.320 Universal demand for strong post-war merchant marine 28:12.320 --> 28:15.320 makes post-war opportunities in these jobs 28:15.320 --> 28:21.320 fully as great as in any American industry today.