WEBVTT 00:00.000 --> 00:05.560 Now, the Roma Wine Company of Fresno, California presents... 00:05.560 --> 00:08.560 Suspense! 00:08.560 --> 00:24.160 Tonight, Roma Wines bring you Mr. Lloyd Nolan, as star of 19 Deacon Street, a suspense play 00:24.160 --> 00:33.080 produced, edited and directed for Roma Wines by William Spear. 00:33.080 --> 00:34.080 Suspense! 00:34.080 --> 00:39.520 Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines. 00:39.520 --> 00:42.160 That's R-O-M-A Roma Wines. 00:42.160 --> 00:46.600 Those excellent California wines that can add so much pleasantness to the way you live, to 00:46.600 --> 00:51.400 your happiness and entertaining guests, to your enjoyment of everyday meals. 00:51.400 --> 00:56.560 Yes, right now a glass full would be very pleasant, as Roma Wines bring you Mr. Lloyd 00:56.560 --> 00:59.960 Nolan in a remarkable tale of... 00:59.960 --> 01:01.960 Suspense! 01:01.960 --> 01:05.880 Ah, what a business, what a business. 01:05.880 --> 01:10.440 Do you know how it is when you're keeping something to yourself, something that scares 01:10.440 --> 01:12.920 you, something that nobody else will believe? 01:12.920 --> 01:16.720 Well, if I tell you how it really happened, you'll say I'm nuts. 01:16.720 --> 01:19.200 But if I don't talk, then for sure I'll go nuts. 01:19.200 --> 01:20.200 Listen. 01:20.200 --> 01:24.000 Did you ever have a dame get under your skin till you were ready to hang yourself with 01:24.000 --> 01:26.400 your own belt just to be rid of her? 01:26.400 --> 01:27.480 Yeah. 01:27.480 --> 01:29.000 She did that to me. 01:29.000 --> 01:30.340 That blonde. 01:30.340 --> 01:32.520 That beautiful blonde. 01:32.520 --> 01:42.560 And the funny thing is, we never even met. 01:42.560 --> 01:44.760 Ties is my business wholesale. 01:44.760 --> 01:48.920 I came to Chicago with a red hot line and an exclusive to the Middle West, all sewed 01:48.920 --> 01:49.920 up. 01:49.920 --> 01:52.840 All I had to do was find a place to do business and a place to live. 01:52.840 --> 01:54.320 You think that's easy, huh? 01:54.320 --> 01:56.520 You should see Chicago these days. 01:56.520 --> 02:01.640 Well, some ham actor on the train tipped me off to a theatrical rooming house at 19 Deacon 02:01.640 --> 02:02.640 Street. 02:02.640 --> 02:05.080 I only wished he'd broken his neck before he saw me. 02:05.080 --> 02:12.800 Anyhow, I go to this place and from the outside it looks all right. 02:12.800 --> 02:18.280 I wait a minute or two and finally an old dame comes out looking like a tired old duchess. 02:18.280 --> 02:19.280 Good afternoon. 02:19.280 --> 02:20.280 Uh, yeah. 02:20.280 --> 02:21.280 I'm, uh, I'm looking- 02:21.280 --> 02:22.280 No vacancy. 02:22.280 --> 02:23.280 Oh? 02:23.280 --> 02:25.680 Well, an actor on a train said that maybe it'd put me up. 02:25.680 --> 02:26.680 Are you an actor? 02:26.680 --> 02:28.720 Uh, yeah, sort of. 02:28.720 --> 02:32.600 Well, I do hate to turn you away if you're in the theater. 02:32.600 --> 02:35.800 There was a time when we catered exclusively to theatrical people. 02:35.800 --> 02:37.600 Oh, any kind of a room would be okay. 02:37.600 --> 02:38.920 Well, come in, young man. 02:38.920 --> 02:42.000 We'll see what we can do. 02:42.000 --> 02:43.800 We have a room that we don't rent. 02:43.800 --> 02:46.280 It's not really fixed up for renting, but I might- 02:46.280 --> 02:48.040 Now, look, lady, I'm not particular. 02:48.040 --> 02:49.160 I'm away all day. 02:49.160 --> 02:51.720 All I want are places to sleep, see? 02:51.720 --> 02:52.720 Come upstairs. 02:52.720 --> 02:56.680 I just know I shouldn't have promised myself. 02:56.680 --> 03:01.720 Now, young man, I'm going to show this to you on one condition. 03:01.720 --> 03:02.720 What's that? 03:02.720 --> 03:05.480 This room belongs to someone very dear to me. 03:05.480 --> 03:06.480 She's away. 03:06.480 --> 03:09.680 I've never rented it because, well, I expect her back. 03:09.680 --> 03:10.680 Oh, yeah? 03:10.680 --> 03:15.620 I want you to promise that no matter what, you will not move anything or ask any questions 03:15.620 --> 03:16.620 about her. 03:16.620 --> 03:17.620 That's a funny thing to ask. 03:17.620 --> 03:19.360 Some people wouldn't understand. 03:19.360 --> 03:20.360 Promise? 03:20.360 --> 03:23.400 Okay, it's a deal. 03:23.400 --> 03:26.400 I'll turn on the light. 03:26.400 --> 03:31.320 Well, do you like it? 03:31.320 --> 03:33.480 Well, I don't know. 03:33.480 --> 03:36.200 It's kind of feminine, isn't it? 03:36.200 --> 03:37.200 Yes. 03:37.200 --> 03:45.920 Yellow fluffy curtains and costume dolls, cold cream, greased paint, dressing gown. 03:45.920 --> 03:48.640 Hmm, nice perfume. 03:48.640 --> 03:52.600 And hey, Lady Stockings, ain't this a little unusual? 03:52.600 --> 03:54.640 We haven't changed it at all. 03:54.640 --> 03:58.360 You don't realize this, young man, but you're standing in a shrine. 03:58.360 --> 03:59.360 Am I? 03:59.360 --> 04:00.400 Oh, what? 04:00.400 --> 04:05.200 We haven't touched her room because some day she'll be back and she'll find everything 04:05.200 --> 04:07.320 just as she left it. 04:07.320 --> 04:09.560 Is this her picture on the mantel here? 04:09.560 --> 04:10.560 Yes. 04:10.560 --> 04:11.560 Isn't she beautiful? 04:11.560 --> 04:13.720 Wow, you can say that again. 04:13.720 --> 04:15.720 I never even saw such a beautiful dame. 04:15.720 --> 04:17.760 And notice the long golden hair. 04:17.760 --> 04:24.560 Oh, if you could really see it, long and shimmering like thin strands of purest gold. 04:24.560 --> 04:26.360 And she'll be back. 04:26.360 --> 04:28.480 Well, when do you expect her? 04:28.480 --> 04:29.480 I don't know. 04:29.480 --> 04:30.480 What didn't she say? 04:30.480 --> 04:32.320 No, she didn't say a word. 04:32.320 --> 04:37.080 One day she was here and the next day she was gone without a word. 04:37.080 --> 04:38.600 How long ago? 04:38.600 --> 04:45.920 In a few days it'll be ten years. 04:45.920 --> 04:53.480 Well, I took the room. 04:53.480 --> 04:57.920 If I knew then what trouble it would bring me, I'd have slept in the park instead. 04:57.920 --> 05:02.240 When the landlady left, I went over to the mantel and I looked at the blonde's picture. 05:02.240 --> 05:06.520 Yeah, she was really one beautiful dame. 05:06.520 --> 05:12.240 And there was something else about her, some little thing I couldn't pin down. 05:12.240 --> 05:17.920 Well, I took the French doll off the pillow and flopped down. 05:17.920 --> 05:21.800 But from where I lay I could look right at the picture. 05:21.800 --> 05:28.360 I looked and I felt the back of my neck crawl. 05:28.360 --> 05:30.520 Finally I couldn't stand it any longer. 05:30.520 --> 05:35.000 I jumped up and I turned the picture to the wall. 05:35.000 --> 05:40.840 And then I dozed off. 05:40.840 --> 05:46.200 And there she was, crying. 05:46.200 --> 05:47.200 Just her face. 05:47.200 --> 05:54.120 Soft gray eyes and her golden hair. 05:54.120 --> 05:57.600 Strands of pure gold like the old dame said. 05:57.600 --> 05:58.600 Yeah. 05:58.600 --> 06:01.280 Oh, what was she crying about? 06:01.280 --> 06:02.280 What was wrong? 06:02.280 --> 06:03.280 I didn't get it. 06:03.280 --> 06:05.280 Laverne. 06:05.280 --> 06:07.280 Laverne. 06:07.280 --> 06:11.280 What's the matter, Laverne? 06:11.280 --> 06:13.280 Mr. Swartz. 06:13.280 --> 06:14.280 Laverne. 06:14.280 --> 06:15.280 Mr. Swartz. 06:15.280 --> 06:16.280 What are you crying about? 06:16.280 --> 06:19.280 Mr. Swartz, are you all right? 06:19.280 --> 06:22.280 Yeah, just a minute. 06:22.280 --> 06:25.280 I'm all right. 06:25.280 --> 06:26.280 It's just a bad dream, I guess. 06:26.280 --> 06:28.280 But I heard you calling out. 06:28.280 --> 06:29.280 You were calling Laverne. 06:29.280 --> 06:30.280 Who? 06:30.280 --> 06:31.280 Laverne. 06:31.280 --> 06:33.280 That's who you were calling, wasn't it? 06:33.280 --> 06:34.280 I don't know. 06:34.280 --> 06:35.280 Laverne. 06:35.280 --> 06:38.280 Yeah, I guess I was. 06:38.280 --> 06:41.280 How did you know, Mr. Swartz? 06:41.280 --> 06:43.280 How did you know her name was Laverne? 06:43.280 --> 06:46.280 Well, I don't know. 06:46.280 --> 06:49.280 I don't know how I knew. 06:49.280 --> 06:54.280 I knew her name. 06:54.280 --> 06:58.280 I knew the name of the blonde, but I never met her. 06:58.280 --> 07:03.280 I pressed at the landlady for details, but the old dame wouldn't talk. 07:03.280 --> 07:05.280 So I locked the door. 07:05.280 --> 07:07.280 I went to work to find out for myself. 07:07.280 --> 07:10.280 I emptied all the dresser drawers out on the bed. 07:10.280 --> 07:18.280 Plenty of nice clothes, plenty of shoes and dresses and intimate things, you know, but not one scrap of paper to tell you anything about the girl herself. 07:18.280 --> 07:22.280 Not a letter, not a card, not an envelope, nothing. 07:22.280 --> 07:24.280 Then I got my first break. 07:24.280 --> 07:30.280 In a little jacket, I found the key. It had a tag on it and the figure nine was written on the tag. 07:30.280 --> 07:34.280 There was nothing locked in the room, nothing the key should fit. 07:34.280 --> 07:39.280 But maybe someplace I'd find the lock it was made for. 07:39.280 --> 07:45.280 And later, high in the closet door, I found a telephone number, scrawled with eyebrow pencil. 07:45.280 --> 07:48.280 Briar Gate 1-2-7-3. 07:48.280 --> 07:51.280 I went downstairs to the hall phone. 07:51.280 --> 07:54.280 No one was around. 07:54.280 --> 08:00.280 I felt like a joint dialing a number that had been written more than 10 years ago, but I put the nickel in. 08:00.280 --> 08:02.280 I started dialing. 08:02.280 --> 08:09.280 B-R-I-1-2-7-3. 08:11.280 --> 08:12.280 A busy signal. 08:12.280 --> 08:15.280 That meant the number was still alive. 08:15.280 --> 08:21.280 And maybe, just maybe, somebody on the other end could tell me about Laverne. 08:27.280 --> 08:32.280 And hour later, I was still dialing that number and still getting a busy signal. 08:32.280 --> 08:35.280 So I finally give up and went to my room. 08:35.280 --> 08:38.280 What business was it of mine if some stale babe wanted to disappear? 08:38.280 --> 08:40.280 I had my own headaches. 08:40.280 --> 08:44.280 I had 400 dozen fancy neckties to get rid of. 08:44.280 --> 08:46.280 Laverne was... 08:46.280 --> 08:49.280 She was still in that room. 08:49.280 --> 08:52.280 I felt it in my bones. 08:52.280 --> 08:54.280 And I couldn't sleep. 08:59.280 --> 09:03.280 In the morning, I started out to look for a place to set up shop. 09:03.280 --> 09:08.280 Oh, I was plenty groggy, but I told myself that if I didn't sell those neckties, 09:08.280 --> 09:12.280 I'd find myself back in the bargain basement of Rosenblatt's department store, 09:12.280 --> 09:14.280 which was a sobering thought. 09:14.280 --> 09:17.280 So I started walking down to Madison Street. 09:17.280 --> 09:24.280 It's a warm day and I'm walking fast and suddenly I look up and I'm on State Street. 09:24.280 --> 09:26.280 Now, I know that town pretty well. 09:26.280 --> 09:30.280 I don't have to go anywhere near State Street to get to Madison, but here I am. 09:30.280 --> 09:34.280 I'm on State Street and I'm standing in front of an old building. 09:34.280 --> 09:39.280 All around me I see hawks, shops, flap houses, tattoo joints, you know, the kind of neighborhood. 09:39.280 --> 09:43.280 And right in front of me, this old building, all boarded up. 09:43.280 --> 09:48.280 Suddenly I get the brainwave that this is the kind of joint I need for my business. 09:48.280 --> 09:52.280 Looked like it hadn't been used for 50 years, so the rent couldn't be too high, 09:52.280 --> 09:54.280 and it's big and central. 09:54.280 --> 09:58.280 So I just ankle around to the alley, try the back door. 09:58.280 --> 10:02.280 Figure there must be a caretaker or somebody around, so I give a yell. 10:02.280 --> 10:06.280 Hey! Anybody in there? 10:06.280 --> 10:08.280 No dice. 10:08.280 --> 10:12.280 This is kind of funny because I can see a light shining through the crack in the boards. 10:12.280 --> 10:14.280 So I start pounding on the door. 10:14.280 --> 10:18.280 Hey, open up! Open up, will you? 10:18.280 --> 10:19.280 What do you think you're doing? 10:19.280 --> 10:23.280 Oh, hello, officer. Well, I just thought that there'd be a janitor around. 10:23.280 --> 10:26.280 Does it look like there'd be anybody around with the doors all padlocked like this? 10:26.280 --> 10:28.280 Yeah, but look, there's a light burning inside. 10:28.280 --> 10:31.280 It's just a work light on the stage. It burns all the time. 10:31.280 --> 10:32.280 What do you want, mister? 10:32.280 --> 10:34.280 I want to rent the joint. Where can I find the owner? 10:34.280 --> 10:37.280 Rent it, huh? You'd better get in touch with Jasper Florens. 10:37.280 --> 10:38.280 Oh, the big stage producer. 10:38.280 --> 10:42.280 That's right. He used to run this little burleque house before he was in the chips. Got his start here. 10:42.280 --> 10:45.280 You can probably get him on the phone at his office. 10:52.280 --> 10:53.280 Florens Productions. 10:53.280 --> 10:56.280 Oh, hello. I'd like to speak to Mr. Florens, please. 10:56.280 --> 10:57.280 Oh, who's calling, please? 10:57.280 --> 10:58.280 My name's Swartz. 10:58.280 --> 11:01.280 What did you wish to talk to Mr. Florens about, please? He's very busy. 11:01.280 --> 11:04.280 Yeah, yeah. Now, look, I ain't no ham actor looking for a job. 11:04.280 --> 11:06.280 Tell him I want to rent some space from him. 11:06.280 --> 11:07.280 Rent space? 11:07.280 --> 11:10.280 Yeah, the old Florens theater on State Street. 11:10.280 --> 11:11.280 Oh. 11:11.280 --> 11:14.280 Well, hello. 11:14.280 --> 11:18.280 I'm sorry, but the Florens theater is not for rent. 11:18.280 --> 11:20.280 Not for rent. But why? 11:21.280 --> 11:23.280 Well, okay, okay. Have it your way. 11:27.280 --> 11:32.280 I burned up the nerve of that guy letting his theater sit there empty while I needed it so bad. 11:32.280 --> 11:35.280 Well, I wandered back to the house a little later and... 11:37.280 --> 11:41.280 As soon as I got what inside of it, I got that queer feeling again. 11:42.280 --> 11:45.280 It was just like that blonde was standing there waiting for me. 11:46.280 --> 11:49.280 Well, I walked in and went to my room. 11:49.280 --> 11:54.280 I got out of detective mystery and tried to pass the time away, but it didn't work. 11:55.280 --> 11:57.280 I couldn't think of a thing. 11:57.280 --> 11:59.280 Except for a burn. 11:59.280 --> 12:03.280 Then I lay back on the bed and I must have been dead tired. 12:04.280 --> 12:06.280 Because in nothing flat, I was out. 12:12.280 --> 12:14.280 And there she was again. 12:15.280 --> 12:17.280 That beautiful girl, Sabin. 12:18.280 --> 12:24.280 This time I was sure she was trying to say something to me. 12:24.280 --> 12:29.280 Trying to get a message of some kind to me, but... 12:31.280 --> 12:34.280 I just couldn't understand. 12:43.280 --> 12:45.280 What was she trying to say? 12:45.280 --> 12:53.280 Was she asking me to find her? 12:53.280 --> 13:01.280 Find me. 13:23.280 --> 13:27.280 Between the acts of suspense, this is Truman Bradley for Roma Wines. 13:28.280 --> 13:32.280 This year, Thanksgiving is more than our traditional pilgrim's harvest festival. 13:32.280 --> 13:36.280 More than thanks for the good harvest reaped from the soil of our great land. 13:36.280 --> 13:40.280 It's an humble Thanksgiving that the world is at peace. 13:40.280 --> 13:43.280 Thanks for God-granted overseas victories. 13:43.280 --> 13:45.280 Thanks for cherished freedom at home. 13:45.280 --> 13:47.280 Thanks for loved ones with us again. 13:47.280 --> 13:54.280 Today, in many American homes, wine, Roma wine, is a symbolic of this day of thanks as the traditional turkey. 13:54.280 --> 13:59.280 As millions of Americans feast in hamlets, villages, towns, and cities, 13:59.280 --> 14:03.280 glass-fulls of Roma wine are lifted in heartfelt thankfulness. 14:03.280 --> 14:07.280 How fitting, too, with Roma California Burgundy, 14:07.280 --> 14:12.280 a wine grown in the soil of America, reflecting the goodness of the world. 14:12.280 --> 14:20.280 Roma California Burgundy, a wine grown in the soil of America, reflecting the goodness of nature and the patient toil of free men. 14:20.280 --> 14:29.280 Roma Burgundy, a red, robust wine, truly delicious, delightful, distinguished in any company with any food. 14:29.280 --> 14:31.280 Serve cool. 14:31.280 --> 14:40.280 Remember, because of uniformly fine quality at low cost, more Americans enjoy Roma than any other wine. 14:40.280 --> 14:43.280 R-O-M-A, Roma wines. 14:53.280 --> 14:57.280 And now, Roma wines bring back to our Hollywood soundstage, Lloyd Nolan, 14:57.280 --> 15:02.280 as Maury Swartz, Thai salesman and raconteur in 19 Deacon Street, 15:02.280 --> 15:10.280 a play well calculated to keep you in suspense. 15:12.280 --> 15:19.280 Why me? Why me? Why me? 15:23.280 --> 15:28.280 After that, I was afraid to sleep, so I grabbed my hat and ran out of the house. 15:28.280 --> 15:32.280 I stopped at a joint down the street and ordered some coffee. 15:32.280 --> 15:40.280 And while I was sitting there, I all of a sudden remembered what my uncle, my mother's brother, used to say. 15:40.280 --> 15:47.280 He said, if you want to forget something that's bothering you, just concentrate on something else, anything else. 15:47.280 --> 15:52.280 Well, but what could I concentrate on? Then I thought. 15:52.280 --> 15:56.280 And then I thought of the theater, the Florence Theater. 15:56.280 --> 15:59.280 The guys had tried to run it for years and failed, but I needed it. 15:59.280 --> 16:06.280 And if I used my brain for that one thing, if I did nothing but plan ways of breaking Florence down, 16:06.280 --> 16:11.280 I might be able to level myself out and at the same time swing the deal. 16:11.280 --> 16:16.280 Later that morning, I got in touch with an agent I knew, and he gave me Florence's address. 16:16.280 --> 16:20.280 I took a cab out there. It was on Lake Shore Drive and very hoi polloi. 16:20.280 --> 16:27.280 Florence was sitting in his study. He looked just like his pictures, tall, gray looking with a nice sort of smile. 16:27.280 --> 16:32.280 But his necktie was lousy. Well, we had quite an argument. 16:32.280 --> 16:35.280 Did I understand that you're interested in the Florence Theater? 16:35.280 --> 16:39.280 Yeah, that's right. I tried to see you at your office, but I couldn't get past your secretary. 16:39.280 --> 16:42.280 That's why I thought I'd take a chance and see you in here. 16:42.280 --> 16:44.280 I see. You're rather persistent, aren't you, Mr. Swartz? 16:44.280 --> 16:49.280 Well, you see, it means a lot to me, Mr. Florence. I understand it's been closed for years, but... 16:49.280 --> 16:53.280 I believe my secretary told you I didn't want to rent the theater, didn't you? 16:53.280 --> 16:57.280 Well, sure he did, but Mr. Florence, did you ever have a hunch? 16:57.280 --> 16:59.280 A hunch? Why, yes, of course. 16:59.280 --> 17:01.280 Well, do you generally play your hunches? 17:01.280 --> 17:03.280 Well, sometime. 17:03.280 --> 17:05.280 Well, I got a hunch about your theater. 17:05.280 --> 17:10.280 I see. Well, I'd like very much to help you, but I'm afraid it's out of the question. 17:10.280 --> 17:11.280 But why? 17:11.280 --> 17:15.280 Well, it's where I produced my first shows. Has memories for me. 17:15.280 --> 17:23.280 Some pleasant, some not so pleasant. Reopening that theater would be like reopening a part of my past that I'd rather keep closed. 17:23.280 --> 17:28.280 Oh, but ain't that kind of silly, Mr. Florence? I wouldn't put on shows there. All I want is... 17:28.280 --> 17:32.280 I admire your persistence, Mr. Swartz, but the answer will always be no. 17:32.280 --> 17:39.280 Okay. You win for now. But I ain't giving up. Because when I want something real bad, I get it. 17:39.280 --> 17:42.280 And I want your theater bad for personal reasons. 17:42.280 --> 17:47.280 Now, here's my card. I've written my phone number on it in case you change your mind. 17:47.280 --> 17:49.280 And you'll change your mind, Mr. Florence. 17:49.280 --> 17:50.280 You think so? 17:50.280 --> 17:54.280 Yeah, I think so. As you say, I'm persistent. 17:57.280 --> 17:59.280 Hello? Oh, Mr. Bogart, yes. 17:59.280 --> 18:02.280 This isn't Mr. Bogart. I was just kidding. This is Swartz again. 18:02.280 --> 18:04.280 Huh? Oh, you. 18:04.280 --> 18:07.280 Yeah, you're still... you're sure you don't want to rent that theater? 18:07.280 --> 18:09.280 Still very sure, Mr. Swartz. 18:09.280 --> 18:11.280 Look, Swartz, I want you to stop hounding me. 18:11.280 --> 18:14.280 It's not doing anybody any good standing empty. 18:14.280 --> 18:18.280 That's for me to decide. I want you to leave me alone, do you hear? I want you to leave me alone! 18:22.280 --> 18:28.280 Yeah, and that's how it went. And it worked at first. For a while I... I forgot about Laverne. 18:28.280 --> 18:33.280 And I got Florence plenty nervous. But every time I went back to 19 Deacon Street, 18:33.280 --> 18:36.280 I wondered who was more nervous, him or me. 18:36.280 --> 18:41.280 And all the time I'm dogging Florence, I'm still sneaking in calls to that phone number I found in the closet, 18:41.280 --> 18:46.280 Briar Gate, 1-2-7-3. And I'm still getting busy signals. 18:46.280 --> 18:51.280 And then one night as I'm listening to the busy signal, I get mad. 18:51.280 --> 18:53.280 Hey, operator! Operator! 18:53.280 --> 18:55.280 This is the operator, sir. 18:55.280 --> 18:58.280 So what's been going on around here? For three days and nights I've been dialing this number, 18:58.280 --> 19:00.280 and all I've got is a busy signal. 19:00.280 --> 19:01.280 I'll connect you with my supervisor. 19:01.280 --> 19:05.280 What good's that going to do? Now, look, is there any way to get that phone number? 19:05.280 --> 19:08.280 Now, look, is there any way of finding out who this number belongs to? 19:08.280 --> 19:14.280 Surely, sir. Unless it's an unlisted number, you can get that information by dialing 2-0-8-0. 19:14.280 --> 19:18.280 You mean I can find out who's at the other end of this phone by dialing that number? 19:18.280 --> 19:20.280 Boy, there's nothing like that back home. 19:20.280 --> 19:22.280 Yes, sir. Chicago has that service. 19:22.280 --> 19:25.280 And I spend three days listening to a busy signal. 19:25.280 --> 19:28.280 Say, lady, where can I dial for brains? 19:28.280 --> 19:32.280 So I dialed 2-0-8-0, and that's how I found the place. 19:32.280 --> 19:35.280 It's a little run-down spaghetti joint named Joe's. 19:35.280 --> 19:40.280 Over in the corner I see the telephone that's been giving me the busy signal, and no wonder. 19:40.280 --> 19:42.280 It's a public phone booth. 19:42.280 --> 19:45.280 Right now one guy is in it and two others are waiting for it. 19:45.280 --> 19:48.280 I go over and climb on a stool. 19:48.280 --> 19:49.280 What can I get you? 19:49.280 --> 19:50.280 Uh, you, Joe? 19:50.280 --> 19:52.280 Yeah, what can I get you? 19:52.280 --> 19:54.280 How long you been in this place, Joe? 19:54.280 --> 19:58.280 Uh, 14 or 15 years. Why? 19:58.280 --> 20:00.280 Well, you've seen a lot of people come and go, huh? 20:00.280 --> 20:02.280 Shoes, plenty. What can I get for you? 20:02.280 --> 20:04.280 Look, you got a good memory for faces? 20:04.280 --> 20:07.280 Look, you see, I'm busy, mister. I got no time for games. 20:07.280 --> 20:09.280 You want something or you don't want something? 20:09.280 --> 20:11.280 Here, Joe, take a look at this picture. 20:11.280 --> 20:12.280 Shoes. 20:12.280 --> 20:13.280 Yeah. 20:13.280 --> 20:14.280 So what? 20:14.280 --> 20:15.280 You recognize her? 20:15.280 --> 20:17.280 Yeah, she's been in here a long, long time ago. 20:17.280 --> 20:18.280 What's her name, Joe? 20:18.280 --> 20:22.280 I can't remember her name. She was a showgirl, I think. 20:22.280 --> 20:24.280 Uh, Claire or something. 20:24.280 --> 20:25.280 Wasn't it Laverne, Joe? 20:25.280 --> 20:26.280 Yeah, that's right. 20:26.280 --> 20:27.280 Yeah? 20:27.280 --> 20:28.280 Laverne Claire. 20:28.280 --> 20:30.280 She's always come in here with a big shot. 20:30.280 --> 20:31.280 With a big shot? 20:31.280 --> 20:34.280 Well, he wasn't so big a shot then, but he was going to places. 20:34.280 --> 20:36.280 And then she jilted him and ran off with some other guy. 20:36.280 --> 20:39.280 I remember very good, because he used to come in here after that 20:39.280 --> 20:41.280 and sit here alone all the time. 20:41.280 --> 20:43.280 It break him up pretty bad. 20:43.280 --> 20:45.280 Hey, and who was this big shot? You remember that, Joe? 20:45.280 --> 20:46.280 Oh, sure, sure. 20:46.280 --> 20:48.280 The big producer, Jasper Florence. 20:48.280 --> 20:50.280 Now, what can I get you, huh? 20:50.280 --> 20:52.280 MUSIC 20:58.280 --> 21:00.280 Jasper Florence, the poor guy. 21:00.280 --> 21:03.280 Here I've been hounding him for that theater 21:03.280 --> 21:06.280 and he's holding out because it'll break his heart to let it go. 21:06.280 --> 21:10.280 He won't rent because it's a chunk of his life, a bad chunk. 21:10.280 --> 21:12.280 And it's in that theater. 21:12.280 --> 21:14.280 Well, that's what a dame can do to you. 21:14.280 --> 21:17.280 But what a mean dame she must be. 21:17.280 --> 21:20.280 But anyway, I begin to feel better. 21:20.280 --> 21:22.280 Now, first thing tomorrow, I go out, 21:22.280 --> 21:25.280 find another place to do business, and I'd start selling ties. 21:25.280 --> 21:28.280 But when I get home, I was in for another surprise. 21:28.280 --> 21:31.280 On my door there was a note from the landlady. 21:31.280 --> 21:33.280 Jasper Florence called. 21:33.280 --> 21:35.280 He changed his mind about the theater 21:35.280 --> 21:38.280 and will meet you there at 8 o'clock. 21:38.280 --> 21:40.280 Well, figure that one out. 21:40.280 --> 21:43.280 I looked at my watch and it was 5 after 8 already. 21:43.280 --> 21:46.280 I get to the theater about 20 pairs. 21:46.280 --> 21:48.280 Nobody's there. 21:48.280 --> 21:51.280 So I wait around in front for a few minutes 21:51.280 --> 21:54.280 and then I look down at the front door. 21:54.280 --> 21:57.280 The padlock I saw on it the other day was gone. 21:57.280 --> 22:00.280 I give the door a little push and it swings open. 22:00.280 --> 22:04.280 Well, it's just like any other theater lobby. 22:04.280 --> 22:10.280 White tile, brass rails, cobwebs all over everything, of course. 22:10.280 --> 22:14.280 I go on into the house and there in the center of the stage 22:14.280 --> 22:17.280 is that one big work leg the cop told me 22:17.280 --> 22:20.280 they've been keep burning all these years. 22:20.280 --> 22:22.280 What a queer duck that Florence must be 22:22.280 --> 22:25.280 to keep electricity going for 10 years. 22:25.280 --> 22:28.280 And in the center of the stage is a big organ 22:28.280 --> 22:33.280 and the light behind it sends screwy shadows up against the wall. 22:33.280 --> 22:39.280 I walk down the long aisle and up the stairs onto the stage. 22:39.280 --> 22:43.280 As I walk across it, I could hear my footsteps echo. 22:43.280 --> 22:49.280 I never could resist listening to an echo, so I yelled, hello! 22:49.280 --> 22:55.280 Acting like a kid whistling in the dark. 22:55.280 --> 22:57.280 Hey, look, Maury, you're all alone here. 22:57.280 --> 22:59.280 There's nothing to be afraid of. 22:59.280 --> 23:01.280 Well, then I see that organ and I walk over to it, 23:01.280 --> 23:03.280 run my hand across the keys. 23:03.280 --> 23:07.280 I quit that in a hurry. 23:07.280 --> 23:12.280 Then as I wipe the dust off my fingers, I look up into the flies. 23:12.280 --> 23:15.280 I look and I see sandbags hanging. 23:15.280 --> 23:19.280 Whoa, they must weigh 150 pounds. 23:19.280 --> 23:22.280 I was just looking up at the catwalk, which I... 23:22.280 --> 23:24.280 Then I see somebody move. 23:24.280 --> 23:26.280 I was sure of it. 23:26.280 --> 23:29.280 Just off stage, a guy moved in the darkness. 23:29.280 --> 23:33.280 Don't ask me why, but I started to walk toward him very quietly. 23:33.280 --> 23:36.280 Yeah, he was there. I could see him now. 23:36.280 --> 23:38.280 Hey, come out of there, you! 23:38.280 --> 23:40.280 He didn't move. 23:40.280 --> 23:43.280 So I walked over closer and... 23:43.280 --> 23:46.280 It was... it was a dressing room. 23:46.280 --> 23:50.280 And the guy I saw reflected was Maury Swartz. 23:50.280 --> 23:52.280 That's right, me. 23:52.280 --> 23:57.280 Maury Swartz reflected in a dressing table mirror. 23:57.280 --> 24:03.280 Well, just then I saw a door to another dressing room across the hall. 24:03.280 --> 24:05.280 That door was closed, but something about it made me stare. 24:05.280 --> 24:07.280 It was the number on the door. 24:07.280 --> 24:09.280 Number nine. 24:09.280 --> 24:12.280 I remember the key I picked up in Laverne's room. 24:12.280 --> 24:16.280 Then a flash, I had it out of my pocket and was trying it on the door. 24:16.280 --> 24:20.280 Number nine, the tag said, and it worked. 24:20.280 --> 24:23.280 My knees were shaking and sweat was rolling down my face, 24:23.280 --> 24:26.280 but I opened the door as wide as I could. 24:26.280 --> 24:28.280 I stepped in. 24:28.280 --> 24:30.280 And then I stepped on something. 24:30.280 --> 24:33.280 It was dark, I couldn't figure out what it was. 24:33.280 --> 24:36.280 So I let her match. 24:36.280 --> 24:38.280 There. 24:38.280 --> 24:44.280 On the floor were the white bones of a skeleton. 24:44.280 --> 24:49.280 And beside them, long golden strands of hair. 24:49.280 --> 24:54.280 And then I... I knew. 24:54.280 --> 24:58.280 My heart was beating a mile a minute as I stowed back to the stage. 24:58.280 --> 25:01.280 I got there and I started for the footlights. 25:01.280 --> 25:03.280 Suddenly I looked up, the master curtain was crashing down on me. 25:03.280 --> 25:08.280 I jumped back. 25:08.280 --> 25:10.280 Got away just in time, didn't you, Swartz? 25:10.280 --> 25:12.280 Too bad. 25:12.280 --> 25:15.280 Florence, where are you? 25:15.280 --> 25:18.280 You can't see me, Swartz, but I can see you. 25:18.280 --> 25:20.280 I'm up here in the flag gallery in the shadows. 25:20.280 --> 25:22.280 But you're well lighted by that work light. 25:22.280 --> 25:24.280 You make a very good target down there. 25:24.280 --> 25:26.280 I would do that, Swartz. 25:26.280 --> 25:28.280 If you make one move to put out the light or get away, 25:28.280 --> 25:31.280 I'll cut these conduits and you'll be smashed to nothing. 25:31.280 --> 25:35.280 You... you killed Laverne, didn't you, Florence? 25:35.280 --> 25:37.280 You killed her and then you closed your theater 25:37.280 --> 25:39.280 and locked it up so she'd never be found. 25:39.280 --> 25:40.280 No wonder you wouldn't rent. 25:40.280 --> 25:43.280 And what are you going to do about it, Mr. Swartz? 25:43.280 --> 25:45.280 You don't have much of a chance, do you? 25:45.280 --> 25:47.280 Now there's no way off the stage, is there? 25:47.280 --> 25:50.280 Well, I... I can get out the wings, Florence. 25:50.280 --> 25:51.280 It's a long walk, my friend. 25:51.280 --> 25:54.280 And before you make it, I'll drop these sandbags on you. 25:54.280 --> 25:56.280 Oh, yeah. 25:56.280 --> 25:59.280 Well, maybe in a minute or two I'll make a dash. 25:59.280 --> 26:01.280 Maybe I'll be faster than you will. Then what, Florence? 26:01.280 --> 26:03.280 Then you'll fry for killing that girl. 26:03.280 --> 26:04.280 She had it coming. 26:04.280 --> 26:06.280 And so have you, my friend, for being a meddler. 26:06.280 --> 26:09.280 And you're going to get it. I'm cutting the weights loose now. 26:09.280 --> 26:11.280 No, no. Don't do that, please, will you? 26:11.280 --> 26:12.280 I... 26:20.280 --> 26:23.280 Oh, that's a long way to fall 26:23.280 --> 26:26.280 and an awful way to die. 26:26.280 --> 26:29.280 Even for you, Florence. 26:41.280 --> 26:43.280 Well, there's the story. 26:43.280 --> 26:46.280 And if you don't believe it, there's nothing I can do. 26:46.280 --> 26:49.280 Florence was leaning over, cutting those ropes 26:49.280 --> 26:52.280 and the guardrail and that old theater give away. 26:52.280 --> 26:55.280 And it was curtains for him. 26:55.280 --> 26:57.280 Well, I hope I entertained you. 26:57.280 --> 27:00.280 And, oh, by the way, if you happen to need any ties, 27:00.280 --> 27:02.280 I got a nice new line in. 27:02.280 --> 27:05.280 I hope you won't think it's sacrilegious, 27:05.280 --> 27:08.280 but these ties, and they come in all colors, 27:08.280 --> 27:10.280 they got a girl's picture on them. 27:10.280 --> 27:12.280 That's a cute idea, huh? 27:12.280 --> 27:14.280 I call it the Laverne tie. 27:14.280 --> 27:16.280 So don't forget, look me up. 27:16.280 --> 27:18.280 I got a little stand in Rosenblatt's department store. 27:18.280 --> 27:25.280 You'll miss it, right in the bargain basement. 27:35.280 --> 27:37.280 Roma Wines have brought you Lloyd Nolan, 27:37.280 --> 27:39.280 a star of 19 Deacon Street. 27:39.280 --> 27:41.280 Tonight's study in... 27:41.280 --> 27:43.280 Suspense. 27:43.280 --> 27:46.280 This is Truman Bradley for Roma Wines, 27:46.280 --> 27:48.280 the sponsor of Suspense. 27:48.280 --> 27:51.280 Welcoming guests with Roma California Sherry 27:51.280 --> 27:53.280 is becoming an American custom, 27:53.280 --> 27:55.280 says famed hostess Elsa Maxwell. 27:55.280 --> 27:59.280 Glorious gold and amber Roma Sherry, served cool, 27:59.280 --> 28:02.280 is a delicious appetizer before the meal, 28:02.280 --> 28:04.280 the perfect first call for dinner. 28:04.280 --> 28:06.280 Delightful later in the evening, too. 28:06.280 --> 28:10.280 Roma Sherry is a happy mellow wine with natural fragrance, 28:10.280 --> 28:14.280 cream rich with natural grape sugar sweetness and nut-like taste. 28:14.280 --> 28:18.280 If you prefer a real dry Sherry, get Roma Pale Dry Sherry. 28:18.280 --> 28:23.280 Like all Roma California wines, Roma Sherrys are true wines, 28:23.280 --> 28:25.280 always unvaryingly good. 28:25.280 --> 28:29.280 You can now enjoy the taste luxury of Roma wines 28:29.280 --> 28:31.280 at the lowest prices in years, 28:31.280 --> 28:33.280 at savings as much as one-fourth. 28:33.280 --> 28:38.280 Grown from choice grapes, unhurriedly perfected by age-old skill, 28:38.280 --> 28:41.280 bottled at Roma wineries and California's choicest vineyards, 28:41.280 --> 28:45.280 get your favorite Roma wines now for holiday entertaining. 28:45.280 --> 28:47.280 Insist on Roma wines. 28:47.280 --> 28:51.280 Roma wines offer you so much for so little. 28:51.280 --> 28:52.280 That's Roma. 28:52.280 --> 28:55.280 R-O-M-A. Roma wines. 28:55.280 --> 28:58.280 Lloyd Nolan appeared through the courtesy of 20th Century Fox Film Corporation 28:58.280 --> 29:01.280 and can now be seen in their production, The House on 92nd Street. 29:01.280 --> 29:05.280 Next Thursday, Roma wines bring you Miss Nancy Kelly in... 29:05.280 --> 29:09.280 Suspense! Radio's outstanding theatre thrill. 29:09.280 --> 29:12.280 Presented by Roma wines. 29:12.280 --> 29:18.280 R-O-M-A. Made in California for enjoyment throughout the world. 29:18.280 --> 29:39.280 This is CBS, the Columbia Broadcasting System.