Suspense!
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And now, Shenley brings you radio's outstanding theater of thrill, Suspense!
Presented by Roma Wines, that's R-O-M-A, Roma Wines, for your everyday enjoyment.
Tonight, Roma Wines of Fresno, California bring you Michael O'Shea in The Twist, a suspense
play produced, edited and directed for Shenley by William Spears.
Listen, Gus, you've got to do the show.
I can't do it.
You've written for all the big comedians, you'd turn out a hit.
I don't have the time.
Oh, but Gus.
Look, I don't have the time.
Anyways, I couldn't do it.
Ridiculous.
A guy with your reputation.
Yeah, a guy with my reputation, yeah.
What do you know?
Listen.
12 years ago, I was on the cabs.
Gustav Green, the hack, lice and red.
Cripes, how I hated the cabs.
Worked like a slob, 12 or 14 hours a day for a lousy 27 bucks a week.
Now do you blame me that I took the daydreaming?
Like maybe it was my limousine and I was driving because my chauffeur had a day off?
I used to sit at the wheel figuring out the dondest situations.
Like I'd pick up some rich old dame and she'd leave me a million bucks or I'd save a guy.
All kinds of situations.
But all I got was 27 per a week.
Until the night I met Fann.
Hey, Cab.
Cabby.
Take me home, driver.
Home?
Your home or my home, wise guy?
Wait a second.
Well, you got talent and you're driving a cab.
Where can I get a job driving a cab?
You want the radio on?
Now definitely no.
Oh, now don't let's be bitter, shall we?
You know, radio was quite a medium.
Just think, some guy says a few words into a microphone and you can hear it as far west
as Georgia.
Gust of Green?
Well, Mr. Green, meet Van Hauser, the best gag man in the radio business.
Currently freelancing, unemployed, on the beach.
Well, if you're so good, why aren't you in there writing them yaks, wise guy?
Why?
Because words I know, rib tickling words, gags, yeah, jokes to make a corpse laugh.
But plots.
Situations.
Situations?
Yeah, that's another story.
I could coin a million if I could figure them out.
Well, look, situations.
Now let me tell you, I am a veritable Shaharazadi on situations.
I got a million.
Now look, for instance, the guy who says that if I'd have followed...
I don't know, something clicked between me and Van Hauser.
From the beginning, I always hated his guts, the way he talked to me like I was duped.
But up in his room, I started feeding him stories, stuff I dreamed up on the cab.
He put it into good words and it came out very funny too.
Well, inside a couple of years, I was getting 1,500 bucks a week, but I was tied to that
guy.
I couldn't work with nobody else.
I'd sit down with another gag writer and nothing would happen.
Yeah, I knew it was Van all 40 bucks a week in some broken down job.
So?
So I hung onto him like a barnacle.
I worked with him, ate with him, played with him.
My place was just down the hall from his at the hotel.
Sometimes I thought I'd go nuts if I had a look at his sneer and ugly puss another day.
And the only satisfaction I had was that he needed me and hated me just like I needed
and hated him.
But one day while we were writing a spot for Schmo for a day, he chose me a very unfunny
line.
Gus, my good boy, you may be interested to know that I'm going to marry Julie Phelps.
Julie Phelps, a dancer?
That's right.
She used to be the club Catalina.
She making trouble for you.
Cut it.
All right, all right.
I didn't say nothing against her.
All right, you better not.
Okay.
Go ahead and enjoy yourself.
Thanks.
So, Gus, my cornball colleague, we may not be seeing so much of each other hence.
Oh, now look, you don't mean that.
Hey, now, wait a minute.
What's going to be with our partnership here?
We'll see.
I'll talk it over with Julie.
No, no, Van.
Now, look, I mean it.
We've always done what we wanted to.
Loafed all day, worked all night, ate and slept at any crazy hour.
Now no dame is going to stand for that.
Huh?
Julie is different.
No dame is different.
Yeah, she knows how we operate.
And she knows you, Gus.
Yeah, and she's not exactly crazy about me, neither.
Uh-huh.
I don't care about that.
Now, if you want to stay in with me, be nice to her.
It won't do no good.
Listen, Van, she'll make trouble between us.
See, she'll work on that as soon as the knot is tied.
I said...
Now, listen to me.
I'm your pal, Van.
A dame like that is bad business.
You know what?
The club catalina, Gus...
Well, she wasn't exactly...
Gus, Julie is one in a million.
A joke man like you comes a dime a dozen.
Okay, okay, if that's the way you feel.
That's the way I feel.
Pardon me for having any feet here.
All right, just be nice to her.
No cracks.
Okay, so I'll be nice.
Now, look, about Sunday show...
I said be nice to her, if you're not Gus, we're finished.
Yeah, I said I'd be nice, but I knew it wouldn't do no good.
Julie was a small town girl who soured on Broadway after she had a bust up with Nick
Edwards, the mug who runs the club catalina, and she wanted out.
And she was going to take Van with her too.
So it came to me that I'd better figure out a situation and pronto.
She didn't like me because she was a scare to me.
I knew about her and Nick Edwards and Van didn't.
So I says to myself, I says, Gus, maybe the Dame will scare away.
Hey.
Where's the van?
Oh, Gus Green, what a surprise.
Hello there, Julie.
Yeah, this is for you.
Flowers?
Yeah, yeah, Van told me about you, too, see, and I figured...
They're lovely.
Come on in, Gus.
Thanks.
I miss flowers so much in the city.
Back home, the garden's always full of them.
Yeah, yeah, say, this is a nice little garden.
Yeah, yeah, it's a nice little garden.
It's a nice little garden.
Back home, the garden's always full of them.
Yeah, yeah, say, this is a nice place you got here.
Thanks.
Yeah, very swanky.
Wasn't that chair once in the lobby of the Club Catalina?
Well, I bought it when they redecorated the place.
Oh, sure, sure you did, honey, but it just reminded me.
Of what?
I just happened to see your friend Nick Edwards today.
I haven't seen Nick in months.
Oh, sure you haven't, honey, but he's still carrying the torchola for you.
I'm not interested.
No, I didn't say you were, but you might be interested in the fact that Nick said,
if Van Hauser marries Julie, so help me, I'll kill him.
Did he say that?
Now would I lie, honey?
Well, that settles it.
I've had enough of show business.
Van and me are going back home.
Oh, no, no, you can't do that to Van, Julie.
This is his life.
What's he going to do in a small town?
I don't care.
I'm sick of it.
I'm sick of all the cheap characters, the bums and the hangers-on.
If I want him to, Van will come with me.
Oh, look, maybe he would.
Well, I'm sure he would, but Julie, what I really wanted to say was, why don't you give
me a few days?
I'll go talk to Nick and who knows, maybe I can fix the whole thing up.
Would you, Gus?
I'd like to stay for Van's sake.
I'd like to see him get a good job with regular hours, maybe an advertiser.
Sure, sure.
Nick will listen to me.
Well, at least I can try, huh?
Thanks, Gus.
You're nice.
I didn't know.
And then I get another idea.
What's that?
Maybe the three of us could all work together.
Oh, I can't write.
I can type.
Well, we need a secretary.
We could dictate our stuff to you.
I don't know shorthand.
Ah, you don't have to.
After all, what is a comedy script?
Along the left-hand side of the page, you put the name of the character and then you
write out what he's supposed to say.
Simple?
Sounds simple.
You could spend more time with Van.
How would you like to try?
I'd love to.
Gus, it would be wonderful.
Sure, it'd be wonderful for me.
When she said she'd work with us, Julie was playing a part in a situation that I dreamed
up.
And let me tell you, it was a good one.
Because it ended with me still making a grand and a half per week and Julie Phelps, well,
Julie Phelps was just not there.
A music chaser and a commercial.
Credits and sign off.
Got that, darling?
Every word, Mr. Halsey.
Well, Van, how do you like our new secretary?
Oh, she's good, Gus.
How come you had such a swell idea?
Gus, if this works out, I'll be the happiest person alive.
Oh, no, you won't, Julie.
I will.
Now, come on, I'd like to try dictating.
Ready?
OK, take a clean sheet of paper.
Here's a gag sequence for the Fred Benton show.
Look who's writing gags.
Don't laugh.
Genius.
Now look, Fred's talking to Mrs. Mishmash and she starts reading the wrong page of the
script, you see?
Ready?
Let's go.
Mrs. Mishmash, please don't laugh at me.
I think we've made a mistake.
Mistake.
Uh-huh.
Now, Fred Benton, I know I have.
Yes.
Mrs. M, let's start all over from the beginning.
All over from the beginning.
Fred, if you love me, you will.
That's funny.
No, no, that's charming.
Now, this is Mrs. Mishmash.
Am I going too fast?
No, no, that's fine.
OK, this is Mrs. Mishmash again.
I would do anything for you.
Anything for you.
Fred, he says, I mean, he says, I would like to see you.
Oh, I'm bored.
Now, Mrs. M again.
Let's talk this over.
How about tonight?
Yeah.
Fred, when?
At midnight.
Midnight.
Mrs. M, come, come.
I'm waiting for you right now.
For you right now.
Did you get it all?
Uh-huh.
Good.
Type it right up.
Wait, wait, wait.
What's the matter?
Don't bother, Julie.
We couldn't use that corn even on the Benton show.
All right, wise guy, give it to me, Julie.
I'll file it under sustainers.
Look, if you're going to fight, I'm not going to work for either of you.
Van, be a dear and get me a pack of cigarettes downstairs, will you?
All right, hon.
But Gus, don't try to write any more of those charming gags.
I'm a little lost.
Gus?
Yeah?
Did you get anywhere with Nick?
Well, yeah, Julie, he's softened up, but he wants to see you.
Gus, I don't want that man near me.
Now, look, you don't see him, you better start wearing black for Van.
You know Nick Edwards.
I know Nick wouldn't stop at killing, but I...
Now listen, Julie, I haven't got time to argue with you now.
Van will come back, but why don't you come to my place tomorrow night at 11?
I'll run into Van for sure.
Well, then come before eight and wait for me.
We'll have rehearsals till then.
What about Van?
Tell him you're going to sleep early or something.
What if he calls anyway?
I'll cover you.
I'll probably be with him anyhow.
He must never know about Nick.
I get it, I get it.
Now, listen, Julie, you just leave everything to me and in a couple of days you won't have
to worry about Nick Edwards again.
Yeah, just leave everything to me and you won't have to worry about anything anymore,
Julie Phelps.
Not even your own funeral.
From eight o'clock the next evening I paid a little visit to my apartment, long enough
to see that Julie was comfortable and also to get the keys to her place out from her
handbag.
I drove over there and went upstairs to do some interior decorating, my kind.
Gonna take Van away for Broadway, are you?
Gonna send me back to 40 bucks a week in a pig's ear, you are, Julie Phelps.
Get that in a pig's ear.
Now, just one more touch to complete the situation.
A little business outside the club, Catalina.
Hey kid, hey kid, come here.
Here, listen now.
Here's a dime, kid.
Take this note in this here envelope and give it to Nick Edwards.
And if anyone asks you, say a game, a dame gave it to you.
Got that?
A beautiful dame.
Got it from a beautiful dame, right?
Look, Gus, Gus, no more work.
Let's knock off.
What's the matter, Van?
You tired?
No, no, no.
What's eating you?
Oh, you wouldn't understand.
All right, so don't tell me.
I don't care anymore.
It's Julie.
Said she had to go to bed early tonight.
So what?
It ain't legal.
I called a half dozen times, no answer.
Uh-huh.
Afraid she's too time in your hand.
I didn't say that.
Yeah, but I know how you feel.
Yeah, well mind your own business.
Look, my friend, I'll do you a good turn.
Leave me dialed the number for you.
Number's on the pad.
Let's see what your fat fingers can do.
You could talk to her while I get down to my room to get my hat and coat.
I'll take you for a drive before we hit the sack.
Sometimes you're even human.
Okay, here, take it.
It's ringing now.
I'll be right back.
I'll see.
Hello?
Julie, darling.
Van.
Honey, I'm sure glad to hear your voice.
Where you been?
Why?
What about you?
I've been trying to get you all evening.
No answer, then Gus tried to...
Van, dear, I told you.
I was going home to get some sleep.
When I phoned you must have...
Maybe it didn't wake me.
Well, now baby, that's hardly likely with a phone right near your bed.
Sometimes I sleep.
Julie.
I can...
Julie, is there someone there with you?
Of course not, Van.
I'm alone.
I'm by myself.
What are you...
No.
Julie.
Van!
Julie!
Julie, what's the matter?
Julie!
A very neat situation, you're granted, Warden.
Sure.
Julie being killed in her apartment two miles away, Van hearing it over the phone, and me
in the next room to him at the hotel.
You like it, huh, Warden?
Yeah, I like it too, and I did it.
It was a very sensational situation.
For Suspense, Roma Wines are bringing you Mr. Michael O'Shea in The Twist.
Roma Wines presentation tonight in Radio's Outstanding Theater Thrills, Suspense.
Radio's Outstanding Theater of Thrills is presented by Roma.
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That's R-O-M-A, Roma Wines, America's favorite wines.
And now Roma Wines bring back to our Hollywood soundstage, Mr. Michael O'Shea.
That's Gus Green with Sidney Miller as Van Hauser in The Twist, a play well calculated
to keep you in suspense.
Van was still screaming into the phone when I came down the hall from my place a minute
later with hat and coat draped over my very shaking arm.
I opened the door.
Gus, Gus, something's happened to Julie.
Something's happened to Julie.
How do you know?
Did you get her?
Yeah, yeah, she answered the phone.
So?
Well, she sounded funny like there was someone in the same room and then suddenly she sounded
like she was hit or choked or something.
Well, maybe it's just a gag she was pulling.
You know, dames do that sometimes.
You think so?
Why, sure.
No, no, no, it couldn't be.
I heard her, Gus.
Gus, what should I do?
Now, come on, keep your shite on, Van.
The way she screamed.
Did you call her back?
No, no, I didn't.
Well, why don't you?
That's right.
That's right, call her back.
That's what I'll do.
Sure.
Well, here, here, something's happened, I know it has.
Line busy?
No, no, no answer.
Maybe you just spoke to her a minute ago.
Gus, I'm worried, I'm worried sick.
I get it, she's all right.
Come on out for a ride.
Oh, no, I couldn't.
Look, tell you what I'll do for a pound.
I'll drive you over there.
You can check up for yourself.
Didn't look pretty grim as we drove over to Julie's place in the West 70s.
I checked over everything I'd done and figured how I'd work out the rest of the situation.
And we turned off Central Park West into the side street where Julie lived on the second
floor of a converted brownstone.
Hey, look, there's a guy coming out of the house.
That's probably nobody.
I can't see who it is.
He's making a getaway.
Gus, follow him.
I never catch him now.
Oh, gosh, Gus, if you'd only got close enough to see his license number.
Well, I did.
What was it?
LK573498.
All right, Sam Spade, now let's go upstairs and visit Julie, huh?
The door to Julie's apartment was wide open when we got upstairs and the place was just
like I left it.
Like there'd been some kind of a fight.
And then, then I saw where I'd made a mistake.
The telephone where Julie was supposed to be strangled was as neat as a pin.
I watched Ben's face to see if he noticed it, but he was too broken up to notice anything.
Julie, Julie.
Gus, she was a sweet kid.
What do you mean, was?
I know.
She's dead.
What do you know?
All you see is that her apartment is all busted up.
I heard her scream tonight.
Gus, I waited 20 years to meet a girl that I could marry.
So help me.
I'm not going to die till a guy who did this is in his grave.
You'll see.
You'll see, Gus.
I'm kind of mixed up now, but in a little while I'll be able to think.
I know what to do.
Sure, I'll know what to do.
Look, that's the telephone.
What about the telephone?
I'm going to call the police.
You know, Van, now wait a minute.
Don't be crazy.
What?
Look, put that telephone down.
Why shouldn't I call the police?
It's very simple.
You got no evidence she was murdered.
But I heard her scream.
Use your eyes, Van.
Will you use your eyes?
Julie said she was in bed.
Has the bed been slept in?
And where's her coat?
Where's her purse?
And where's her hat?
She said she...
You're right, Gus.
You're right, I won't phone.
Maybe she's still alive.
That's better.
Now look, Van, sometimes we haven't felt too good towards each other, but after all,
we've been partners for a long time, kid.
Now tell you what, I'll do anything.
Anything you say to help you out.
All right, then look.
Look, just on an off chance, Gus, trace that license plate, will you?
Let's find out who that guy was.
We went back to our hotel.
I slept like a log because I knew that Julie was 10 feet from my bed in the closet.
Very dead.
Where she couldn't come between me and Van anymore.
Next morning I told Van I'd checked at the license bureau.
Whose car was it?
Nick Edwards.
Kathleen Edwards?
That's right.
Why, that dirty goon.
Now look, you don't think that he...
I don't have to think.
I'll let the police do the...
Wait a minute, hold it.
Look, Van, I never told you this before, but I knew all along that Julie was playing around
with Nick Edwards.
With Nick Edwards?
Yeah.
That's why I never liked her.
Now you better not call the cops.
Maybe we was just busting in on a private little party last night.
No, no, no, I can't believe it.
No, not Julie.
Well, we gotta find out where she is.
And the guy who knows is Nick Edwards.
What makes you think he'll tell?
I'll tell you what, I'll call him at the club tonight and ask him over.
I think maybe he'll accept my invitation.
Well, Nick arrived at 11 p.m.
And from my window, I watched him park his black car in a dark side street near the hotel,
just like I told him to.
And I carried Julie's body down the back stairs and put it in the luggage compartment of Nick's
car.
Nobody saw me.
And a few minutes later, I knocked on Van's door.
That you, Gus?
Come in.
Hi, Van.
Hi, Nick.
Good evening, Gus.
Nick was just telling me, Gus.
Look, I'm just as worried about Julie as you guys are, see?
Yeah, that's easy to say.
OK, OK, don't take my word for it.
But I've had her house called every half hour all day.
Why'd you go there last night in the first place?
You haven't been around long, have you?
Never mind that, wise guy.
Why'd you visit my girl?
Who said she was your girl?
She was engaged to me.
She was tired of you.
Why, you little...
Sit down.
She told me so herself.
When?
Yesterday.
Then you saw her yesterday, Nick?
No.
No, I ain't seen her since she quit working at the club and started to pal around with
your friend here.
But you just said that...
Julie was the only gal who ever had me on the ropes, eh?
But when she called it quits, I went along.
She was too good for an ex-con like me anyway, I figured.
But last night, someone gives me a note in her handwriting.
Oh?
What did the note say, Nick?
Oh, it was the most beautiful thing I've ever seen.
I read it over and over until I knew it by heart.
Please don't laugh at me.
I think we made a mistake.
I know I have.
Let's start all over from the beginning.
If you really love me, you will.
I love you.
I'll do anything for you.
I'd like to see you.
Let's talk this over.
How about tonight?
When?
At midnight?
Come.
I'm waiting for you right now.
As soon as Nick Edwards left, I told Van I didn't believe anything he said.
And as far as I was concerned, Nick either killed Julie or had taken her away.
Van agreed with me and we called the police.
Ah, yes.
It all made a perfect situation.
The best I'd ever dreamed up.
All of Nick Edwards' high powered lawyers couldn't save him from being sentenced to
the chair.
Yes, sir, life looked pretty sweet.
But there was just one thing wrong.
Van's comedy was getting worse and worse.
Fred Benton told us we'd have to get better or else.
Now we sat in Van's room sweating out a Benton program that was a day overdue.
Van, Van, for the love of Mike, will you pull yourself together?
Of course I can't think.
You don't have to think.
I'll save you the whole situation.
All you gotta do is write the gags for it.
Gags?
Now look, look, in the first scene, Fred and Mrs. Mishmash steal a horse.
But here's the twist.
The horse is blind.
You get it?
Yeah, yeah, yeah, yeah.
Well, come on, then, give.
You know hundreds of horse gags.
Now just give them a twist and fit the situation.
I can't.
They just won't come.
Look, if we don't get this script in tomorrow, Fred will can us.
Now come on, Guy, will you write?
Well, go write yourself.
Van, you know I can't write.
I'm no good without a gag man.
Get yourself another gag man.
I'm through.
Look.
Washed up.
It's not gonna work, Van.
You know that.
I've tried it on the QT.
I was afraid that someday it would break up, but it never worked.
With you and me, Van, something happens.
We're a great team.
Without me, you're just another guy making with words.
Without you, I'm just another Joe.
Now don't you see, kid?
That's why we gotta stick together.
Even if we do hate each other's guts.
That's why nobody can't never break us up.
Now come on, Guy, write, will you?
I can't think of anything.
Look how we got something in the files we haven't used yet.
Files.
You had a senior dictator to Julie.
What was that?
Huh?
That Mrs. Mishmash or something.
No.
Fred.
Was it, please don't laugh at me or something?
I think we made a mistake.
No, no, no, Van.
Look, that's a no good situation.
That's dead.
Let's get something new.
Gus, it's a good situation.
No, um.
A very clever situation.
All I need are the lines.
Please don't laugh at me.
Now, Van, I'm telling you, it's no good.
The lines, the lines, the lines.
The lines, please don't laugh at me.
I'm telling you, it's no good, Van.
Of course.
Why didn't I think of that before?
Those lines you dictated to Julie, they fit.
No, they don't fit.
Besides, I can't ride gags, you know that.
That wasn't a gag, Gus.
That was a situation.
The most desperate situation you ever invented.
Now, wait a minute.
What are you beating your gums about here?
We'll find out.
What are you going to do?
Operator, I want to speak to Inspector Martin of police headquarters.
Get away from that door, Gus.
I got a gun.
Now, don't shoot, Van.
Wait a minute.
Don't shoot.
Don't move.
Police headquarters, Inspector Martin.
Oh, Inspector Martin, this is Van Hauser of the Julie Phelps case.
Hey, I've been trying to get...
Edwards didn't kill Julie.
Gus Green did.
And I got proof.
That makes it even worse.
Edward says you framed him.
Green did.
And that was a script dictated to Julie, minus the character names.
How about his alibi?
He dialed his own number, Inspector, not hers.
And killed her while she was speaking on the phone.
To make things look right, he messed up her apartment.
I never could quite figure out why there were no signs of struggle around her telephone.
Now I know.
Yeah, he must have stowed her body in Nick's car.
Better send some cops over right away before I shoot him.
They're coming over, Hauser, to protect you.
Edwards broke out about an hour ago.
Want you out for him.
Nick Edwards?
Yes.
Yes, Nick Edwards.
Huh?
All right, Hauser, come across with that gun.
Come on.
Nick, you heard what I said, didn't you?
So what?
I didn't frame you.
Gus did.
He's a guy with a situation.
So what?
You took my girl away from me, didn't you?
All right, give me that gun.
Now, Nick, wait a minute.
What are you going to do with it?
Nothing except give me that gun, Hauser.
Gus, don't let him get that gun, Gus.
I'm a little too quick for you, Gus.
Now, Nick, please.
Now, don't shoot me.
Let me tell you how this...
Cut it, you.
I've had a belly full of your stories.
They put me in jail, remember?
They're all stuffed up in here.
But like they say, there ain't no situation that can't take a new twist.
Here's the twist to this one.
You ain't going to die for the murder of my poor Julie.
No, no.
You're going to die for something you didn't do.
What do you mean, Nick?
Just this.
The murder of Van Dyke.
The murder of Van Hauser.
Well, they didn't believe me at the trial.
So I'm up for killing my late, un lamented partner.
But you know me, I always like a twist.
They got Nick for killing Julie.
Now, I guess you can understand why I can't write the prisoner's annual show, can't you,
warden?
Not without Van.
And besides, like I said, I don't have too much time, do I, before I go to the chair?
Suspense.
The Twist, starring Michael O'Shea, presented by Roma Wines.
That's R-O-M-A, Roma California Wines, America's largest selling wines.
When your family and friends enjoy glorious golden amber Roma Sherry or ruby red Roma Port,
you share the rich reward of choicest California grapes, selected and gently pressed at peak taste richness
with ancient skills and winemaking resources unmatched in America.
Roma master ventners guide this grape treasure unhurriedly to full taste perfection.
These choice wines then are laid down with mellow Roma wines of years before, and from these,
the world's great reserves of fine wines, Roma later selects for your taste pleasure.
Tomorrow and every day, enjoy this naturally better taste of Roma Wines.
Whether your favorite Roma Wine is not like Roma Sherry or rich Roma Port, you'll find that every Roma Wine is better tasting wine.
That's why more Americans enjoy Roma than any other wines.
Tonight's Suspense Play was by Baef Blau.
Next Thursday same time, you will hear Donald O'Connor as star of Suspense,
produced and directed by William Spear for the Roma Wine Company of Fresno, California.
In the coming weeks, Suspense will present such stars as Claire Trevor, Kirk Douglas and others.
Make it a point to listen each Thursday to Suspense, radio's outstanding theater thrills.
This is CBS, the Columbia Broadcasting System.