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And now, Auto Light and its 60,000 dealers and service stations present...

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Suspense!

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Tonight, Auto Light co-stars Miss Ethel Barrymore and Mr. Gene Kelly in...

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To Find Help, a suspense play produced and directed by Anton M. Leeder.

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Suspense! Radio's outstanding theater of thrills is presented for your enjoyment by Auto Light and its 60,000 dealers and service stations.

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Friends, when you buy an Auto Light stay-full battery, you're not getting just another ordinary battery.

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No, sir, you're getting a battery that needs water only three times a year in normal car use.

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Yes, Auto Light stay-full batteries need water only three times a year in normal car use.

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Why, a camel could drink its weight in water and a cactus could die of thirst...

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before those tough, temperate, teetotaling Auto Light stay-full batteries would ask for an extra drop of H2O.

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So, friends, switch to an Auto Light stay-full battery tomorrow.

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Remember, you're right with Auto Light, always right with Auto Light.

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And now Auto Light presents Gene Kelly and Ethel Barrymore in a tale well calculated to keep you in...

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Suspense!

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My rumor, Mr. Armstrong, tried to warn me that morning he left on his business trip.

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I remember we were just finishing breakfast and he was rather in a hurry.

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I don't care what you say, Mrs. Gillis. I just plain don't like it.

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You're alone here in the house all day, there are no close neighbors...

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and after all, you know nothing about the man.

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Good gracious, Mr. Armstrong, you think I was a pretty young thing of 20 to hear you tell it.

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And another thing, it seems very strange to me that a young man should be job-hunting...

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from door to door this day and age. Why, there are plenty of jobs to be had.

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That's just why it's so difficult to find help these days.

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You're a worrywart, Mr. Armstrong.

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Now that I've found someone to do my heavy work, I'm not going to let your silly notions change my mind.

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Well, all the same, though. I'm not leaving the house this morning till I get a look at the guy.

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I remember I kept worrying about poor Mr. Armstrong missing his train...

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because it was getting to be nine o'clock.

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He dried the breakfast dishes for me and as he talked...

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he kept looking out of the window toward the long driveway.

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Hey, here he comes.

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I guess I needn't have worried.

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Mr. Armstrong was smiling when he'd seen my young man who was coming up the door...

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and I smiled, too.

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Even I had forgotten what a meek, harmless-looking lad he was...

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and why he would hardly be called a man at all, I thought.

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So that's the critter who's been causing me all this mental anguish.

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There, you see, you and your silly ideas.

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Well, the little guy's not strong enough to keep a regular job, I suppose.

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Why, I believe Sarah's getting some of your foolish notions, Mr. Armstrong.

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There, now, Sarah. Sarah.

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I'm sorry that we made you nervous about him.

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Why, if you could see the guy...

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He'll hear you.

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Good morning, lad. I've been expecting you.

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This is my rumor, Mr. Armstrong.

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I don't believe you told me your name.

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I'm Howard Wilton, ma'am.

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Hello, Howard. How are you? I'm glad you've come.

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I know you'll be a great help to Mrs. Gillis here and you'll be company, too.

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Well, I'm off, Mrs. Gillis.

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Take care of yourself.

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Take care of yourself. I don't think you'll have much trouble.

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I don't think your dog likes me, Mrs. Gillis.

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Of course she does. She's just getting a little old and peabish.

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Oh.

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Come along now, Howard. I'll show you where to hang your coat.

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Oh, yes. I always like to hang my coat up.

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He followed me in the closet storeroom at the back of the house.

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Then I handed him a clothes hanger and a rough, heavy apron, which I kept for cleaning help.

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Is this apron clean, Mrs. Gillis?

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Why, of course it's clean. No one's worn it since it was laundered last.

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There are spots on it. See?

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Spots? Here. Let me look.

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Why, that's paint. No dirt and dried paint, son.

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If you don't mind, I'd rather not wear it.

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What will you wear, then? You didn't bring other clothes.

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I'm a neat worker, Mrs. Gillis. You needn't worry about my clothes.

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I turned, and the light hitting his face from the small window made him look so different.

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I was startled for a moment, and then I thought,

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you're a silly old woman, Mrs. Gillis.

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And then I smiled.

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Are you laughing at me, Mrs. Gillis?

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Why, no, son. I was laughing at myself. Come along. Let's get started now.

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He'd only been at the den floor a short time

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when I heard him walk back to the closet storeroom.

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Can I help you, son?

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I'm going after my coat, Mrs. Gillis.

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I don't like it being out there in the storeroom.

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It's a breeding place for moths, you know.

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No, son. It takes longer than that for moths to do any damage.

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Mrs. Gillis, perhaps you won't think it's quite so amusing

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when I tell you that it's my best and only coat.

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I didn't mean to hurt your feelings, lad. Where would you like to put it?

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In the kitchen, perhaps?

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No, the cooking fumes wouldn't be good for it.

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I'll take it right in the den with me.

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That is, if you don't mind.

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Go right ahead, Howard.

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If you don't mind.

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Suddenly I was thankful that there was a phone.

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He was such a peculiar boy. I wasn't really alarmed.

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Not then I wasn't.

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Still, it was good to know the phone was working.

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And that old Sarah was still in the kitchen asleep.

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MUSIC

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I went on about my own work that morning.

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But several times I went into the den to have a look at him.

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He wasn't doing much. I could see that.

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He seemed to keep polishing one small square in the corner of the room.

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Is there anything you need, Howard?

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I don't know.

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I won't be spied upon, Mrs. Gillis. I won't put up with that.

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See here, lad, I think we must have gotten off on the wrong foot.

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I'm not spying on you.

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Then why do you keep popping in like that?

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Would you like me to go faster?

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Would you like me to spill out my life's blood for you here on the floor?

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Is that what you're after?

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Howard, are you well? Are you well enough to work?

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Of course I'm well.

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If only you could bother me.

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Are you well enough to work? Of course I'm well.

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If only you could bother me and pester me and question me.

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Is it too much to ask?

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Howard, son, I'm interested in young men.

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I had two boys of my own. They were in the service.

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See, that's Bill on the desk there.

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He was a Marine.

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And on the table there, that's Dennis.

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He was in the infantry.

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So that's why you hate me.

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I see it all now.

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Hate you? Why, whatever gave you...

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Yes, you hate me. I could tell at the moment I walked into your house this morning.

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But Howard...

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You hate me because I'm young and I wasn't in the service like your boy.

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Why, it never occurred to me.

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You must know I was grateful when you came looking for work.

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Grateful? You resented me.

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The only reason you have me here is to work my life's blood away.

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To punish me for not being in the service.

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Just because your sons were in the service and I wasn't.

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Son, you're ill.

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Let's put the work away now. I'll make you a cup of tea.

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Oh, you don't want me to do the job. Is that it?

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You're like the Army.

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There was a job to be done and they wouldn't let me in.

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Now you'd like me to stop in the middle of this.

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I only want you to do whatever will make you feel better.

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Leave me alone then.

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Very well.

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Mrs. Gillis?

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Yes?

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I'll tell you why I wasn't in the Army.

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If you insist.

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I don't insist at all, Howard.

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If you must know, I'll tell you.

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They said there was something wrong with my mind.

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For Suspense, Auto Light is bringing you Mr. Gene Kelly co-starring with Ms. Ethel Barrymore

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in Radio's outstanding theatre of thrills, Suspense.

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Hap, I had a very embarrassing experience at New Year's Day dinner.

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What in the world happened, Howard?

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Well, the whole family was there, you see, brothers, sisters, aunts, uncles, nieces, nephews, cousins, outlaws.

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I mean in-laws.

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And during a lull in the conversation, I thought I'd tell them all about that wonderful,

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abstinuous Auto Light Stay Full battery.

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Oh, my.

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So naturally, I told them about that extra large liquid reserve of Auto Light Stay Full batteries.

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Even the Great Lakes, said I, are no great shakes compared to the reservoir in those Auto Light Stay Full batteries.

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Why, those batteries need water only three times a year in normal car use.

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I'm beginning to understand.

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And then, of course, I told them that Auto Light Stay Full batteries give longer life

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than batteries without the Stay Full features.

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And then I explained...

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Wait a minute, Harlow, did you say all this at your big family dinner?

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Yes, and here's the funny thing, Hap.

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Just as I was telling them how every smart car owner was switching to Auto Light Stay Full batteries,

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two of my biggest cousins got up, came around to my chair, and carried me, chair and all, into the pantry.

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By Cornelius, the pantry was where I finished my New Year's dinner.

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Can you imagine my own relatives doing a thing like that to me?

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Well, that certainly was a dirty trick, Harlow, but quiet.

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Here's suspense again.

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And now, Auto Light brings back to our Hollywood soundstage,

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Miss Ethel Barrymore and Mr. Gene Kelly in.

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To find help, the tale well calculated to keep you in.

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Suspense!

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I just thought maybe you'd like to know, Mrs. Gillis.

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They said there was something wrong with my mind.

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The first thing that I thought of when I reached the hallway was the phone.

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But it was in the den with Howard.

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I ran quickly to the back door, but it was locked, and the key wasn't in its usual place.

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The front door was locked, too, and I heard a crash.

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It came from the den.

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I rushed in to find Howard, peacefully polishing away at the same spot.

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He hadn't moved an inch.

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He didn't look up at me.

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Then I saw the phone, which had fallen to the floor beside him.

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But it hadn't just fallen.

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The wires had been torn out of the wall.

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The phone, Mrs. Gillis, it fell.

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But the wires...

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I suppose you think I ruined your phone.

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The wires...

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That happened when it fell to the floor.

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It could have...

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It happened when it fell to the floor.

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I don't suppose you'll be able to use it anymore.

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Not for a while, anyway.

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No, I don't suppose I will.

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Sarah, here! Sarah! Sarah!

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Mrs. Gillis.

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Yes?

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Are you looking for your dog?

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Yes, yes. I haven't seen her all morning.

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She was in the kitchen.

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Well, she's not there any longer.

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I know. Where is she, Howard?

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Where is she?

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Yes, where is she?

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She's gone.

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Gone? If you've harmed her...

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She didn't like me, you know.

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See here, I've put up with enough.

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You tell me where my dog is or...

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Or what, Mrs. Gillis?

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I'll...

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You'll do what, Mrs. Gillis? What will you do?

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Sarah!

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She's gone, Mrs. Gillis. I told you that.

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You've harmed my dog.

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Have I?

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You killed poor old Sarah, who never heard a thing.

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She would have hurt me.

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You're bad, Howard. You're wicked. You're a coward.

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I'm not a coward, Mrs. Gillis. Cowards are afraid to kill.

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Only a coward would kill a poor old dog.

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If I were a coward, I'd be afraid of you.

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And I'm not afraid of you.

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Will you let me out of here?

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I have strong hands, Mrs. Gillis. My fingers are like steel.

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I've never harmed you.

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No, and Sarah didn't need it, but she would have if I hadn't harmed her first.

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Let me out of here!

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You're getting very noisy, Mrs. Gillis.

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Perhaps if I locked you in here, you'd calm down a bit.

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Howard! Howard!

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And then I heard the key turn in the lock.

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For a moment I had the feeling of unreality. Was this really happening?

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But I found out soon enough that it wasn't a dream,

241
00:12:56,000 --> 00:12:58,000
for the dim light from the little square window

242
00:12:58,000 --> 00:13:03,000
picked up a limp, lifeless object in the corner among the dusty mops.

243
00:13:03,000 --> 00:13:06,000
I knew without looking further what it was.

244
00:13:06,000 --> 00:13:08,000
Poor Sarah.

245
00:13:08,000 --> 00:13:11,000
Sarah, who'd never harmed a soul.

246
00:13:15,000 --> 00:13:17,000
I don't know how long he kept me there.

247
00:13:17,000 --> 00:13:19,000
I could hear him moving about the house.

248
00:13:19,000 --> 00:13:21,000
But he finally came.

249
00:13:21,000 --> 00:13:24,000
He spoke to me through the door.

250
00:13:24,000 --> 00:13:26,000
Have you calmed down, Mrs. Gillis?

251
00:13:26,000 --> 00:13:28,000
Yes, Howard. Let me out.

252
00:13:28,000 --> 00:13:30,000
Why?

253
00:13:30,000 --> 00:13:32,000
Because it's warm in here.

254
00:13:32,000 --> 00:13:34,000
Because I want to get out.

255
00:13:34,000 --> 00:13:37,000
You were looking for your dog, weren't you?

256
00:13:37,000 --> 00:13:39,000
Never mind about that, Howard.

257
00:13:39,000 --> 00:13:41,000
Let me out.

258
00:13:41,000 --> 00:13:43,000
Mrs. Gillis, if I kept you in there,

259
00:13:43,000 --> 00:13:47,000
you wouldn't be able to spy on me ever again.

260
00:13:47,000 --> 00:13:49,000
I won't spy on you, Howard.

261
00:13:49,000 --> 00:13:51,000
Let me out.

262
00:13:51,000 --> 00:13:54,000
Do you know what I've been doing, Mrs. Gillis?

263
00:13:54,000 --> 00:13:56,000
No.

264
00:13:56,000 --> 00:13:59,000
I've been doing your den floors, just like you asked me to.

265
00:13:59,000 --> 00:14:01,000
That's fine, Howard.

266
00:14:01,000 --> 00:14:05,000
It was fine being able to work peacefully,

267
00:14:05,000 --> 00:14:09,000
knowing that you were someplace where you couldn't bother me.

268
00:14:09,000 --> 00:14:11,000
I won't bother you, Howard.

269
00:14:11,000 --> 00:14:13,000
It was very peaceful.

270
00:14:13,000 --> 00:14:15,000
Nobody to bother me.

271
00:14:15,000 --> 00:14:17,000
Let me out, Howard.

272
00:14:17,000 --> 00:14:19,000
Will you promise to do as I tell you?

273
00:14:19,000 --> 00:14:21,000
I promise.

274
00:14:21,000 --> 00:14:23,000
Anything?

275
00:14:23,000 --> 00:14:25,000
Anything.

276
00:14:25,000 --> 00:14:27,000
Very well, then.

277
00:14:27,000 --> 00:14:29,000
Now, no tricks.

278
00:14:29,000 --> 00:14:31,000
No.

279
00:14:31,000 --> 00:14:33,000
Feel my hands, Mrs. Gillis.

280
00:14:33,000 --> 00:14:35,000
Are they nice hands?

281
00:14:35,000 --> 00:14:37,000
Yes, they're nice hands.

282
00:14:37,000 --> 00:14:39,000
You haven't felt them.

283
00:14:39,000 --> 00:14:41,000
I haven't felt them.

284
00:14:41,000 --> 00:14:44,000
Did your sons have as nice hands as these?

285
00:14:44,000 --> 00:14:46,000
No.

286
00:14:46,000 --> 00:14:48,000
No, they didn't.

287
00:14:48,000 --> 00:14:50,000
But they didn't have any trouble getting jobs, did they?

288
00:14:50,000 --> 00:14:52,000
I'm just as good as they were, you know.

289
00:14:52,000 --> 00:14:54,000
Of course you are, Howard.

290
00:14:54,000 --> 00:14:56,000
Wouldn't you like some food, lad?

291
00:14:56,000 --> 00:14:58,000
You haven't eaten all day, you know.

292
00:14:58,000 --> 00:15:00,000
Some food would be good, yeah.

293
00:15:00,000 --> 00:15:02,000
Yeah, let me fix you some.

294
00:15:02,000 --> 00:15:06,000
Mrs. Gillis, a woman I worked for once said my hands were weak.

295
00:15:06,000 --> 00:15:08,000
She did.

296
00:15:08,000 --> 00:15:10,000
I'm not allowed, however.

297
00:15:10,000 --> 00:15:12,000
Here, now, lad.

298
00:15:12,000 --> 00:15:14,000
I have some nice cold roast in the icebox.

299
00:15:14,000 --> 00:15:16,000
I taught her a lesson.

300
00:15:16,000 --> 00:15:18,000
It'll only take a minute to fix some salad.

301
00:15:18,000 --> 00:15:20,000
Were your sons' hands strong, Mrs. Gillis?

302
00:15:20,000 --> 00:15:22,000
Not as strong as yours, Howard.

303
00:15:22,000 --> 00:15:24,000
I'll set the table right away.

304
00:15:24,000 --> 00:15:26,000
Mrs. Gillis, feel my hands again.

305
00:15:26,000 --> 00:15:28,000
They're like steel, you know.

306
00:15:28,000 --> 00:15:30,000
I finally managed to get some lunch on the table.

307
00:15:30,000 --> 00:15:32,000
Howard sat beside me.

308
00:15:32,000 --> 00:15:34,000
He didn't say much.

309
00:15:34,000 --> 00:15:36,000
And he ate very little.

310
00:15:36,000 --> 00:15:40,000
I tried to appear casual, to engage him in conversation, anything.

311
00:15:40,000 --> 00:15:42,000
Do you work often, Howard?

312
00:15:42,000 --> 00:15:44,000
Not often.

313
00:15:44,000 --> 00:15:46,000
Do you have trouble finding jobs?

314
00:15:46,000 --> 00:15:48,000
People are anxious to find help these days.

315
00:15:48,000 --> 00:15:50,000
Weren't you?

316
00:15:50,000 --> 00:15:52,000
Yes.

317
00:15:52,000 --> 00:15:54,000
Do you have any problems finding jobs?

318
00:15:54,000 --> 00:15:56,000
No.

319
00:15:56,000 --> 00:15:58,000
Weren't you?

320
00:15:58,000 --> 00:16:00,000
Yes, to find help.

321
00:16:00,000 --> 00:16:02,000
Mrs. Gillis,

322
00:16:02,000 --> 00:16:04,000
they're looking for me.

323
00:16:04,000 --> 00:16:06,000
Who, Howard?

324
00:16:06,000 --> 00:16:08,000
I don't know exactly.

325
00:16:08,000 --> 00:16:10,000
The people I worked for last, I guess.

326
00:16:10,000 --> 00:16:12,000
Was that here, in this town?

327
00:16:12,000 --> 00:16:14,000
No.

328
00:16:14,000 --> 00:16:16,000
It was another town.

329
00:16:16,000 --> 00:16:18,000
Everyone was looking for me,

330
00:16:18,000 --> 00:16:20,000
so I went away.

331
00:16:20,000 --> 00:16:22,000
It's horrible to be spied upon, Mrs. Gillis.

332
00:16:22,000 --> 00:16:24,000
It's horrible to be spied upon, Mrs. Gillis.

333
00:16:24,000 --> 00:16:26,000
It's horrible to be spied upon, Mrs. Gillis.

334
00:16:26,000 --> 00:16:28,000
Do you know what it is to be spied upon?

335
00:16:28,000 --> 00:16:30,000
No, no, I don't.

336
00:16:30,000 --> 00:16:32,000
Would you like to know?

337
00:16:32,000 --> 00:16:34,000
No, I wouldn't, Howard.

338
00:16:34,000 --> 00:16:36,000
I think I'll spy on you the rest of the day.

339
00:16:36,000 --> 00:16:38,000
Then you'll know how it feels.

340
00:16:38,000 --> 00:16:40,000
No, no, please, Howard.

341
00:16:40,000 --> 00:16:42,000
Whatever it is you want, take it and go away.

342
00:16:42,000 --> 00:16:44,000
There's nothing I want, nothing.

343
00:16:44,000 --> 00:16:46,000
I only want to stay here with you.

344
00:16:46,000 --> 00:16:48,000
I can't stand it, Howard.

345
00:16:48,000 --> 00:16:50,000
I can't.

346
00:16:50,000 --> 00:16:52,000
I'm an old woman.

347
00:16:52,000 --> 00:16:54,000
I'm not going away, Mrs. Gillis.

348
00:16:54,000 --> 00:16:56,000
There's still a job to be done.

349
00:16:56,000 --> 00:16:58,000
There's still a job to be done.

350
00:16:58,000 --> 00:17:00,000
I'll go away after I've done

351
00:17:00,000 --> 00:17:02,000
everything that's to be done.

352
00:17:02,000 --> 00:17:04,000
Howard, I have some money here

353
00:17:04,000 --> 00:17:06,000
in the kitchen cabinet drawer.

354
00:17:06,000 --> 00:17:08,000
It's a great deal.

355
00:17:08,000 --> 00:17:10,000
I'll give it to you.

356
00:17:10,000 --> 00:17:12,000
I don't want your money, Mrs. Gillis.

357
00:17:12,000 --> 00:17:14,000
Then go away.

358
00:17:14,000 --> 00:17:16,000
That would be foolish.

359
00:17:16,000 --> 00:17:18,000
Then you'd tell on me.

360
00:17:18,000 --> 00:17:20,000
No, I wouldn't really, Howard.

361
00:17:20,000 --> 00:17:22,000
Never tell a soul that you've been here.

362
00:17:22,000 --> 00:17:24,000
I don't believe you.

363
00:17:24,000 --> 00:17:26,000
And I don't trust you.

364
00:17:26,000 --> 00:17:28,000
There's only one way of being certain

365
00:17:28,000 --> 00:17:30,000
that you won't tell.

366
00:17:30,000 --> 00:17:32,000
My heart jumped when I looked out the window.

367
00:17:32,000 --> 00:17:34,000
I thought it was the milkman.

368
00:17:34,000 --> 00:17:36,000
Tell him to go away.

369
00:17:36,000 --> 00:17:38,000
I can't. I've ordered some extra things.

370
00:17:38,000 --> 00:17:40,000
Then go into the store room until he goes.

371
00:17:40,000 --> 00:17:42,000
I can't, Howard. He knows I'm here.

372
00:17:42,000 --> 00:17:44,000
He'll expect me to pay him.

373
00:17:44,000 --> 00:17:46,000
You promised to do as I told you.

374
00:17:46,000 --> 00:17:48,000
When he pulled open the cabinet drawer,

375
00:17:48,000 --> 00:17:50,000
tell him to take a knife out.

376
00:17:50,000 --> 00:17:52,000
Will you tell him to go away?

377
00:17:52,000 --> 00:17:54,000
If I tell him to go,

378
00:17:54,000 --> 00:17:56,000
he'll think something's wrong.

379
00:17:56,000 --> 00:17:58,000
Then you'll get caught for sure.

380
00:17:58,000 --> 00:18:00,000
All right, Mrs. Gillis.

381
00:18:00,000 --> 00:18:02,000
Take whatever you've ordered, but if you pull any tricks,

382
00:18:02,000 --> 00:18:04,000
you'll be sorry.

383
00:18:04,000 --> 00:18:06,000
Just a moment.

384
00:18:06,000 --> 00:18:08,000
Good afternoon, Mrs. Gillis.

385
00:18:08,000 --> 00:18:10,000
Good afternoon.

386
00:18:10,000 --> 00:18:12,000
A lovely day, isn't it? Yes, it is.

387
00:18:12,000 --> 00:18:14,000
Mrs. Gillis, I think I have good news for you.

388
00:18:14,000 --> 00:18:16,000
You have? Yep.

389
00:18:16,000 --> 00:18:18,000
The company's taking on some more help.

390
00:18:18,000 --> 00:18:20,000
In the future, your deliveries will be made in the early morning.

391
00:18:20,000 --> 00:18:22,000
That's nice.

392
00:18:22,000 --> 00:18:24,000
I don't believe you ever did like these late deliveries, did you?

393
00:18:24,000 --> 00:18:26,000
I never really minded.

394
00:18:26,000 --> 00:18:28,000
If all of our customers were like you,

395
00:18:28,000 --> 00:18:30,000
it wouldn't be such a bad world.

396
00:18:30,000 --> 00:18:32,000
Here you are.

397
00:18:32,000 --> 00:18:34,000
One quart of milk and a pint of half and half.

398
00:18:34,000 --> 00:18:36,000
Goodbye, Mrs. Gillis.

399
00:18:36,000 --> 00:18:38,000
The extra things. You forgot them.

400
00:18:38,000 --> 00:18:40,000
The extra things?

401
00:18:40,000 --> 00:18:42,000
Yes, the extra things.

402
00:18:42,000 --> 00:18:44,000
Now, don't tell me you've forgotten them,

403
00:18:44,000 --> 00:18:46,000
the butter?

404
00:18:46,000 --> 00:18:48,000
Okay, I'll get them right away.

405
00:18:48,000 --> 00:18:50,000
Mrs. Gillis,

406
00:18:50,000 --> 00:18:52,000
I'm going to give you one more chance.

407
00:18:52,000 --> 00:18:54,000
When he comes back, you're going to get rid of him, do you hear?

408
00:18:54,000 --> 00:18:56,000
And if you give me away, I'm going to kill you.

409
00:18:56,000 --> 00:18:58,000
I'll kill you before he can get inside this house

410
00:18:58,000 --> 00:19:00,000
and I don't care what they do to me.

411
00:19:00,000 --> 00:19:02,000
I won't give you away, Howard. I'll only pay him.

412
00:19:02,000 --> 00:19:04,000
I have to do that. Shut up.

413
00:19:04,000 --> 00:19:06,000
Remember. Here you are, Mrs. Gillis.

414
00:19:06,000 --> 00:19:08,000
Thank you. Anything else?

415
00:19:08,000 --> 00:19:10,000
No, that's all.

416
00:19:10,000 --> 00:19:12,000
Mrs. Gillis, I was going to say...

417
00:19:12,000 --> 00:19:14,000
I can't stop. I can't talk today.

418
00:19:14,000 --> 00:19:16,000
I'm very busy.

419
00:19:16,000 --> 00:19:20,000
You're very clever, aren't you, Mrs. Gillis?

420
00:19:20,000 --> 00:19:22,000
What do you mean?

421
00:19:22,000 --> 00:19:24,000
You thought you were going to put something over on me, didn't you?

422
00:19:24,000 --> 00:19:26,000
I sent him away, didn't I?

423
00:19:26,000 --> 00:19:28,000
The extra things you wanted.

424
00:19:28,000 --> 00:19:30,000
There weren't any.

425
00:19:30,000 --> 00:19:32,000
Yes, there were. You saw him. You heard him.

426
00:19:32,000 --> 00:19:34,000
He didn't know what you were talking about.

427
00:19:34,000 --> 00:19:36,000
The milkman had returned.

428
00:19:36,000 --> 00:19:38,000
He stood outside the window. Howard looked at me.

429
00:19:38,000 --> 00:19:40,000
I saw his knuckles grow wide as he clutched the knife.

430
00:19:40,000 --> 00:19:42,000
This is your last chance. Get rid of him.

431
00:19:42,000 --> 00:19:44,000
I will, Howard. I will.

432
00:19:44,000 --> 00:19:48,000
I'm sorry to bother you again, Mrs. Gillis, but you forgot to pay me.

433
00:19:48,000 --> 00:19:50,000
That is, unless you want to...

434
00:19:50,000 --> 00:19:52,000
No, yes, yes. I'll pay you.

435
00:19:52,000 --> 00:19:54,000
Here you are.

436
00:19:54,000 --> 00:19:56,000
Sorry I had to bother you, Mrs. Gillis.

437
00:19:56,000 --> 00:19:58,000
But you see, this is the day I have to come...

438
00:19:58,000 --> 00:20:02,000
Yes, yes, I'm busy. Can't you see that I'm very busy?

439
00:20:02,000 --> 00:20:04,000
Tell me when he's gone, Mrs. Gillis.

440
00:20:04,000 --> 00:20:06,000
I stood by the window and watched.

441
00:20:06,000 --> 00:20:08,000
He got under his truck.

442
00:20:08,000 --> 00:20:10,000
He got under his truck.

443
00:20:10,000 --> 00:20:12,000
Then he drove off.

444
00:20:12,000 --> 00:20:14,000
So that was your scheme, was it?

445
00:20:14,000 --> 00:20:16,000
So you wanted to give me away.

446
00:20:16,000 --> 00:20:18,000
He's gone now, Howard.

447
00:20:18,000 --> 00:20:20,000
You thought he'd save you, didn't you?

448
00:20:20,000 --> 00:20:22,000
No, no, I sent him away like you asked me.

449
00:20:22,000 --> 00:20:24,000
Do you know what would have happened to me?

450
00:20:24,000 --> 00:20:26,000
Do you?

451
00:20:26,000 --> 00:20:28,000
They would have taken me away.

452
00:20:28,000 --> 00:20:30,000
Howard, leave me alone.

453
00:20:30,000 --> 00:20:32,000
I'm going to punish you.

454
00:20:32,000 --> 00:20:34,000
No, Howard, I've been punished enough.

455
00:20:34,000 --> 00:20:36,000
No, you haven't.

456
00:20:36,000 --> 00:20:38,000
Yes.

457
00:20:38,000 --> 00:20:40,000
He was standing very close now.

458
00:20:40,000 --> 00:20:42,000
I knew he still held the knife.

459
00:20:42,000 --> 00:20:44,000
Suddenly everything was black.

460
00:20:44,000 --> 00:20:46,000
I slipped to the floor.

461
00:20:54,000 --> 00:20:57,000
When I came to, I was on the kitchen floor.

462
00:20:57,000 --> 00:20:59,000
My head throbbed.

463
00:20:59,000 --> 00:21:01,000
There I remembered everything.

464
00:21:01,000 --> 00:21:03,000
But where was he?

465
00:21:03,000 --> 00:21:06,000
But where was he?

466
00:21:06,000 --> 00:21:08,000
And I heard a sound,

467
00:21:08,000 --> 00:21:11,000
a soft, swishing sound.

468
00:21:11,000 --> 00:21:13,000
Seemed like hours

469
00:21:13,000 --> 00:21:15,000
before I could bring myself to move.

470
00:21:17,000 --> 00:21:19,000
Suddenly,

471
00:21:19,000 --> 00:21:21,000
the whole clock began to strike.

472
00:21:24,000 --> 00:21:26,000
Why, it was five o'clock.

473
00:21:26,000 --> 00:21:28,000
I'd been unconscious

474
00:21:28,000 --> 00:21:30,000
for longer than I'd thought.

475
00:21:30,000 --> 00:21:32,000
The room had already turned dark

476
00:21:32,000 --> 00:21:34,000
in the late afternoon light,

477
00:21:34,000 --> 00:21:36,000
but I could see him now.

478
00:21:36,000 --> 00:21:38,000
He stood in the middle of the room.

479
00:21:38,000 --> 00:21:40,000
He was pushing my heavy floor polisher

480
00:21:40,000 --> 00:21:42,000
back and forth,

481
00:21:42,000 --> 00:21:44,000
back and forth.

482
00:21:44,000 --> 00:21:46,000
I tried to close the door quietly,

483
00:21:46,000 --> 00:21:48,000
but he looked up.

484
00:21:48,000 --> 00:21:50,000
He saw me.

485
00:21:50,000 --> 00:21:52,000
What time is it, Mrs. Gillis?

486
00:21:52,000 --> 00:21:54,000
About five.

487
00:21:54,000 --> 00:21:56,000
Well, I guess I'll call it a day now.

488
00:21:56,000 --> 00:21:58,000
I've done a nice job, haven't I?

489
00:21:58,000 --> 00:22:00,000
I've done a nice job, haven't I?

490
00:22:00,000 --> 00:22:02,000
Yes, Howard, very nice.

491
00:22:02,000 --> 00:22:04,000
I think I'll be going now.

492
00:22:04,000 --> 00:22:06,000
Doesn't it shine nicely, Mrs. Gillis?

493
00:22:06,000 --> 00:22:08,000
Yes, yes, it does.

494
00:22:08,000 --> 00:22:10,000
Is it worth five dollars to you?

495
00:22:10,000 --> 00:22:12,000
Yes, Howard.

496
00:22:12,000 --> 00:22:14,000
I have nice hands,

497
00:22:14,000 --> 00:22:16,000
haven't I, Mrs. Gillis?

498
00:22:16,000 --> 00:22:18,000
Yes, Howard, you have.

499
00:22:18,000 --> 00:22:20,000
Here, take the money.

500
00:22:20,000 --> 00:22:22,000
Thank you. It's a pity they have to be used

501
00:22:22,000 --> 00:22:24,000
to polish floors.

502
00:22:24,000 --> 00:22:26,000
You've done such a good job, Howard.

503
00:22:26,000 --> 00:22:28,000
I'll give you an extra dollar.

504
00:22:28,000 --> 00:22:30,000
Thank you.

505
00:22:30,000 --> 00:22:32,000
You'll be needing me tomorrow, Mrs. Gillis?

506
00:22:32,000 --> 00:22:34,000
No, thank you, Howard.

507
00:22:40,000 --> 00:22:42,000
The door's locked, Mrs. Gillis.

508
00:22:42,000 --> 00:22:44,000
Yes, Howard.

509
00:22:44,000 --> 00:22:46,000
Do you have the key?

510
00:22:46,000 --> 00:22:48,000
Yes.

511
00:22:48,000 --> 00:22:50,000
Yes, I do. I just remember.

512
00:22:50,000 --> 00:22:52,000
I just remembered

513
00:22:52,000 --> 00:22:54,000
a lot of things.

514
00:22:54,000 --> 00:22:56,000
Mrs. Gillis, there's someone at the door.

515
00:22:56,000 --> 00:22:58,000
Yes, Howard.

516
00:22:58,000 --> 00:23:00,000
Will you open it?

517
00:23:00,000 --> 00:23:02,000
Should I?

518
00:23:02,000 --> 00:23:04,000
Yes, Howard, you have the key.

519
00:23:04,000 --> 00:23:06,000
I have?

520
00:23:06,000 --> 00:23:08,000
Is this it, Mrs. Gillis?

521
00:23:08,000 --> 00:23:10,000
Yes, Howard.

522
00:23:10,000 --> 00:23:12,000
Open the door.

523
00:23:12,000 --> 00:23:14,000
Open the door, Howard.

524
00:23:14,000 --> 00:23:16,000
Open it.

525
00:23:16,000 --> 00:23:18,000
All right, Mrs. Gillis.

526
00:23:20,000 --> 00:23:22,000
I'm Mr. Stevens

527
00:23:22,000 --> 00:23:24,000
from the phone company. Your phone's been

528
00:23:24,000 --> 00:23:26,000
reported out of order.

529
00:23:26,000 --> 00:23:28,000
Mrs. Gillis, is your phone out of order?

530
00:23:28,000 --> 00:23:30,000
No, no, there must be a mistake.

531
00:23:30,000 --> 00:23:32,000
That's strange. We've had several reports.

532
00:23:32,000 --> 00:23:34,000
Maybe I'd better run back and check

533
00:23:34,000 --> 00:23:36,000
my books.

534
00:23:36,000 --> 00:23:38,000
Just a moment, Mr. Stevens. Could you do me a favor?

535
00:23:38,000 --> 00:23:40,000
Why, certainly.

536
00:23:40,000 --> 00:23:42,000
Mrs. Gillis.

537
00:23:42,000 --> 00:23:44,000
This boy, he's worked here all day.

538
00:23:44,000 --> 00:23:46,000
He's done a good job, but I don't think

539
00:23:46,000 --> 00:23:48,000
he's well.

540
00:23:48,000 --> 00:23:50,000
I'm all right, Mrs. Gillis.

541
00:23:50,000 --> 00:23:52,000
Aren't you tired, Howard?

542
00:23:52,000 --> 00:23:54,000
Doesn't your head ache?

543
00:23:54,000 --> 00:23:56,000
Yes.

544
00:23:56,000 --> 00:23:58,000
Yes, I am tired.

545
00:23:58,000 --> 00:24:00,000
My head does ache.

546
00:24:00,000 --> 00:24:02,000
Well, maybe Mr. Stevens will be kind enough

547
00:24:02,000 --> 00:24:04,000
to drive you to the car line.

548
00:24:04,000 --> 00:24:06,000
I'd be glad to, Mrs. Gillis, but I can't wait long.

549
00:24:06,000 --> 00:24:08,000
Right away, and I'll go along, too.

550
00:24:08,000 --> 00:24:10,000
I have some marketing to do.

551
00:24:10,000 --> 00:24:12,000
And Mr. Stevens, as long as you're here,

552
00:24:12,000 --> 00:24:14,000
would you mind checking the phone just to make sure?

553
00:24:14,000 --> 00:24:16,000
Of course.

554
00:24:16,000 --> 00:24:18,000
I'll show you where it is.

555
00:24:18,000 --> 00:24:20,000
Mrs. Gillis?

556
00:24:20,000 --> 00:24:22,000
No, Howard, you wait here. We'll be right back.

557
00:24:22,000 --> 00:24:24,000
I move quickly

558
00:24:24,000 --> 00:24:26,000
toward the den.

559
00:24:26,000 --> 00:24:28,000
Mr. Stevens followed me.

560
00:24:28,000 --> 00:24:30,000
Once inside, I closed the door behind me.

561
00:24:30,000 --> 00:24:32,000
He spotted the torn

562
00:24:32,000 --> 00:24:34,000
wires at once.

563
00:24:34,000 --> 00:24:36,000
Say, this phone...

564
00:24:36,000 --> 00:24:38,000
It's that boy. That man.

565
00:24:38,000 --> 00:24:40,000
He's dangerous. Drive us to the police

566
00:24:40,000 --> 00:24:42,000
station as fast as you can.

567
00:24:42,000 --> 00:24:44,000
Well, I...

568
00:24:44,000 --> 00:24:46,000
Before he could reply, I opened the den door and went out

569
00:24:46,000 --> 00:24:48,000
into the empty room.

570
00:24:48,000 --> 00:24:50,000
Howard!

571
00:24:50,000 --> 00:24:52,000
He's gone.

572
00:24:52,000 --> 00:24:54,000
It sure looks that way.

573
00:24:54,000 --> 00:24:56,000
No, no, you've got to find him.

574
00:24:56,000 --> 00:24:58,000
But, Mrs. Gillis, if you were afraid...

575
00:24:58,000 --> 00:25:00,000
You don't understand. He's angry with me.

576
00:25:00,000 --> 00:25:02,000
He wants to kill me, and now he's hiding here somewhere.

577
00:25:02,000 --> 00:25:04,000
When you go, he'll come out and kill me.

578
00:25:04,000 --> 00:25:06,000
Say that, ma'am. Take it easy.

579
00:25:06,000 --> 00:25:08,000
You're getting yourself all worked up.

580
00:25:08,000 --> 00:25:10,000
You don't believe me.

581
00:25:10,000 --> 00:25:12,000
Look, Mrs. Gillis, maybe I'd better run down to the corner

582
00:25:12,000 --> 00:25:14,000
and phone for somebody.

583
00:25:14,000 --> 00:25:16,000
I'll go with you. Well, sure, if it'll make you feel any better.

584
00:25:16,000 --> 00:25:18,000
My car's right outside in the driveway.

585
00:25:18,000 --> 00:25:20,000
Yes. Come on.

586
00:25:20,000 --> 00:25:22,000
Yes, and we'll call the police.

587
00:25:22,000 --> 00:25:24,000
They'll come and get him.

588
00:25:24,000 --> 00:25:26,000
Sure, whatever you say.

589
00:25:26,000 --> 00:25:28,000
He looked like a nice enough

590
00:25:28,000 --> 00:25:30,000
young fellow, though. Are you sure

591
00:25:30,000 --> 00:25:32,000
that he...

592
00:25:32,000 --> 00:25:34,000
Were you looking for me, Mrs. Gillis?

593
00:25:34,000 --> 00:25:36,000
Why, yes,

594
00:25:36,000 --> 00:25:38,000
Howard, I was.

595
00:25:38,000 --> 00:25:40,000
Are you ready to go? Yes,

596
00:25:40,000 --> 00:25:42,000
I'm ready. I just thought I'd wait in the car.

597
00:25:42,000 --> 00:25:44,000
Sure, sure.

598
00:25:44,000 --> 00:25:46,000
All right, Mrs. Gillis,

599
00:25:46,000 --> 00:25:48,000
you get in the back here.

600
00:25:48,000 --> 00:25:50,000
Thank you.

601
00:25:58,000 --> 00:26:00,000
It's very kind of you

602
00:26:00,000 --> 00:26:02,000
to do this for me.

603
00:26:02,000 --> 00:26:04,000
I'm very tired.

604
00:26:04,000 --> 00:26:06,000
Just relax, Howard.

605
00:26:06,000 --> 00:26:08,000
We'll take care of you.

606
00:26:08,000 --> 00:26:10,000
Already?

607
00:26:10,000 --> 00:26:12,000
Already, Mr. Stevens.

608
00:26:12,000 --> 00:26:14,000
Mr. Stevens.

609
00:26:14,000 --> 00:26:16,000
Don't you think I have nice hands?

610
00:26:16,000 --> 00:26:18,000
Why?

611
00:26:18,000 --> 00:26:20,000
Yes, I guess so.

612
00:26:20,000 --> 00:26:22,000
Yes.

613
00:26:22,000 --> 00:26:24,000
They're strong hands, too.

614
00:26:24,000 --> 00:26:40,000
Very strong.

615
00:26:44,000 --> 00:26:46,000
Thank you, Gene Kelly

616
00:26:46,000 --> 00:26:48,000
and Ethel Barrymore, for a splendid performance.

617
00:26:48,000 --> 00:26:50,000
Our stars will return in just a moment.

618
00:26:50,000 --> 00:26:52,000
Say,

619
00:26:52,000 --> 00:26:54,000
Hap, I've got a wonderful

620
00:26:54,000 --> 00:26:56,000
New Year's resolution here.

621
00:26:56,000 --> 00:26:58,000
Don't tell me you're resolved to give up talking, Howard.

622
00:26:58,000 --> 00:27:00,000
Give up talking? Me, auto light,

623
00:27:00,000 --> 00:27:02,000
powder-packed Wilcox?

624
00:27:02,000 --> 00:27:04,000
Will a pistol-packing cowboy give up his gun?

625
00:27:04,000 --> 00:27:06,000
Will a power-packed auto light stay full battery

626
00:27:06,000 --> 00:27:08,000
give up the ghost when you need it most?

627
00:27:08,000 --> 00:27:10,000
Not on your life, by Cornelius.

628
00:27:10,000 --> 00:27:12,000
No, sir, Hap, the New Year's resolution I've got

629
00:27:12,000 --> 00:27:14,000
is for every car owner who doesn't already have

630
00:27:14,000 --> 00:27:16,000
an auto light stay full battery.

631
00:27:16,000 --> 00:27:18,000
And the resolution reads,

632
00:27:18,000 --> 00:27:20,000
I resolve at the earliest opportunity

633
00:27:20,000 --> 00:27:22,000
that is tomorrow morning

634
00:27:22,000 --> 00:27:24,000
to drive down to my nearest auto light dealer

635
00:27:24,000 --> 00:27:26,000
and get a brand new auto light stay full battery.

636
00:27:26,000 --> 00:27:28,000
The battery that needs water only three times a year

637
00:27:28,000 --> 00:27:30,000
in normal car use.

638
00:27:30,000 --> 00:27:32,000
For remember, friends,

639
00:27:32,000 --> 00:27:34,000
you're right with auto light.

640
00:27:34,000 --> 00:27:36,000
And remember, too, auto light means

641
00:27:36,000 --> 00:27:38,000
batteries.

642
00:27:38,000 --> 00:27:40,000
Stay full batteries.

643
00:27:40,000 --> 00:27:42,000
Auto light means spark plugs.

644
00:27:42,000 --> 00:27:44,000
Ignition engineered resistor spark plugs.

645
00:27:44,000 --> 00:27:46,000
Auto light means ignition systems.

646
00:27:46,000 --> 00:27:48,000
The lifeline of your car.

647
00:27:48,000 --> 00:27:50,000
The lifeline of your car.

648
00:27:50,000 --> 00:27:52,000
And now here again is Mr. Gene Kelly.

649
00:27:52,000 --> 00:27:54,000
It's always a pleasure to appear on suspense,

650
00:27:54,000 --> 00:27:56,000
but it was especially wonderful playing opposite

651
00:27:56,000 --> 00:27:58,000
a truly great lady of the stage and screen,

652
00:27:58,000 --> 00:28:00,000
Miss Ethel Barrymore.

653
00:28:00,000 --> 00:28:02,000
Why, thank you, Gene. It was a great pleasure for me, too.

654
00:28:02,000 --> 00:28:04,000
Even though in the story I had a harrowing time.

655
00:28:04,000 --> 00:28:06,000
Well, that's the specialty of suspense, Miss Barrymore.

656
00:28:06,000 --> 00:28:08,000
That's why I try never to miss a chance

657
00:28:08,000 --> 00:28:10,000
to be on the stage.

658
00:28:10,000 --> 00:28:12,000
I'm glad you're here.

659
00:28:12,000 --> 00:28:14,000
I'm glad you're here.

660
00:28:14,000 --> 00:28:16,000
I'm glad you're here.

661
00:28:16,000 --> 00:28:18,000
I'm glad you're here, Miss Barrymore.

662
00:28:18,000 --> 00:28:20,000
That's why I try never to miss a program.

663
00:28:20,000 --> 00:28:22,000
For instance, next week, Radio's Outstanding

664
00:28:22,000 --> 00:28:24,000
Theatre of Thrills presents Danny Kay

665
00:28:24,000 --> 00:28:26,000
in a new kind of role for him.

666
00:28:26,000 --> 00:28:28,000
He plays a murderer in a story

667
00:28:28,000 --> 00:28:30,000
titled The Two Perfect Alibi.

668
00:28:30,000 --> 00:28:32,000
And you can be sure it's

669
00:28:32,000 --> 00:28:34,000
another gripping study in...

670
00:28:34,000 --> 00:28:36,000
Suspense.

671
00:28:36,000 --> 00:28:38,000
Gene Kelly can currently be seen

672
00:28:38,000 --> 00:28:40,000
in the Metro-Goldwyn-Mayer All-Star

673
00:28:40,000 --> 00:28:42,000
Technicolor Musical, Words and Music,

674
00:28:42,000 --> 00:28:44,000
based on the lives and music of Rogers and Hart.

675
00:28:44,000 --> 00:28:46,000
Ethel Barrymore may currently be seen

676
00:28:46,000 --> 00:28:48,000
in the David O. Selznick Production Portrait of Jenny.

677
00:28:48,000 --> 00:28:50,000
Tonight's suspense play

678
00:28:50,000 --> 00:28:52,000
was by Mel Dinelli, with music composed

679
00:28:52,000 --> 00:28:54,000
by Lucian Morawek and conducted by

680
00:28:54,000 --> 00:28:56,000
Lud Bluskin. The entire production

681
00:28:56,000 --> 00:28:58,000
was under the direction of Anton M. Lieder.

682
00:28:58,000 --> 00:29:00,000
Next Thursday, same time,

683
00:29:00,000 --> 00:29:02,000
hear Danny Kay in The Two Perfect Alibi.

684
00:29:02,000 --> 00:29:04,000
The Two Perfect Alibi

685
00:29:04,000 --> 00:29:06,000
Remember, you're right

686
00:29:06,000 --> 00:29:08,000
with autolight.

687
00:29:08,000 --> 00:29:10,000
So switch to autolight.

688
00:29:10,000 --> 00:29:12,000
Good night.

689
00:29:12,000 --> 00:29:14,000
This is CBS,

690
00:29:14,000 --> 00:29:42,000
the Columbia Broadcasting System.