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Auto Light and its 96,000 dealers present Suspense.

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Tonight, Auto Light brings you a story of love and hate.

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A story we call Three Lethal Words, starring Miss Joan Crawford.

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Hello, Mr. Wilcox.

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Why, it's Oscar Otto, the loquacious limousine.

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It's me, all right, Harlow, ready for the good driving days ahead.

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With an Auto Light Stay Full Battery, the famous battery that needs water only three times a year in normal car use.

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I wouldn't leave the garage without one.

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I don't blame you, Oscar, why that tried, true and trusty Auto Light Stay Full Battery has over three times the liquid protection of batteries without Stay Full features.

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That's why the Auto Light Stay Full needs water only three times a year in normal car use.

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And it packs a kick that starts me quick as a flick.

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And here's another advantage, Oscar.

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It has fiberglass retaining mats protecting every positive plate to prevent shedding and flaking and keep the power producing materials in place.

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That's why the Auto Light Stay Full gives longer life, as proved by tests conducted according to accepted life cycle standards.

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Keep going, Mr. Wilcox. Battery flattery won't hurt that rugged Auto Light Stay Full.

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So friends, see your neighborhood Auto Light Battery dealer and ask him for an Auto Light Stay Full Battery.

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The battery that needs water only three times a year in normal car use.

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Your Auto Light man is equipped to give you the best in battery service.

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Remember, you're always right with Auto Light.

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And now with three lethal words and the transcribed performance of Miss Joan Crawford, Auto Light hopes once again to keep you in suspense.

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Mr. Lewis, a Miss Winters to see you. Miss Jane Winters.

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Jane Winters? Jane Winters? Are you sure she said?

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Philip, Philip, darling.

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Jane? Jane I am.

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Downstairs at the desk I said you must be mistaken. It can't be Philip Lewis. He's just a story analyst.

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They said no, he's head of the studio story department now.

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And I just couldn't believe it because I've always remembered you as just a reader.

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One who used to make the most devastating criticisms of the scripts I wrote before I, well before I got sick.

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I've been ill, you know. Did you know I've been ill? But everything's all right now.

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Oh, good. I'm glad.

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Sit down, won't you Jane?

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Thank you. I'm exhausted. I've been shopping, shopping, shopping all afternoon.

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I've been buying supplies for my hobby, you know. I do etchings now.

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Do you know what's in this bottle? Acid. Nitric acid. Eats away the steel plates, you know. Amazingly powerful.

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As a matter of fact, that's why I'm here. I was buying this and I got an idea for a story. I'd like to tell it to you if you have a minute.

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Why, of course, Jane. Oh, Grace, if anyone calls I'm out.

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Yes, Mr. Lewis. And tell Johnny Elman, no, wait a minute, I'll write it down for you.

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Last time I was here Leo Burns was head of the story department.

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Oh, he's producing now. Oh? Doing very well at Universal.

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So many changes. Here, Grace, right away.

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Yes. So many changes.

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Ah, cigarette? Thanks.

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It's been a long time, hasn't it, Philip? Yes. You're looking well, Jane.

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I'm feeling all right now. I don't want to talk about me. I want to tell you this idea.

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It's all worked out in my mind except the end. I don't like the end.

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But, well, anyway, we open in the living room of a rather nice little house in the hills above the strip.

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I don't know if you were ever in the place I once had up there.

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Anyway, a place like that. It's around two in the morning and there's this girl pacing back and forth in this living room.

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Call her Sally. Sally Summers. She's smoking a cigarette. Quick, nervous puffs.

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Abruptly she flips the cigarette into the fireplace, hesitates a moment, and then picks up the phone.

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Sally's a screenwriter, not a bad person.

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If you knew her, really knew her, you'd see she's not a bad person.

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All she wants is a little affection, a little love. That's all she wants.

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She's a screenwriter and she's 43 years old and she's married to an actor and he's 19 years younger than she is.

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It's two o'clock in the morning and she's all alone.

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Hello, McCombo.

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McCombo? Is Chris Summers there? Christopher Summers?

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One moment, please. I'll see.

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43 isn't very old. She's always taken care of herself. Looks ages younger than that.

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She and Chris have been married almost a year and her whole life is wrapped up in the boy and it's been fine till recently.

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Recently it... recently it hasn't been so fine.

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Hello?

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Chris, where have you been? I've been worried sick.

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I'm sorry, Mr. Summers isn't here.

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Not there? Thank you.

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She's phoned everywhere. She can't find him. It's getting later and later.

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And there she is in this empty house above the silent sleeping city and she's ready to scream.

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And she hears this key in the lock.

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Oh, you're still up?

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Chris, where have you been? I just about decided to call the hospitals and the police. Where have you been?

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I don't know, here and there. You shouldn't have waited up.

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But it's almost three. I thought I... Oh, I didn't know what to think.

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I said to myself, was he in an accident at the studio? But I phoned and they said no. You'd checked out when they finished shooting at six.

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I've been driving around. I drove out to the beach and then I went for a walk.

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Have you eaten, darling? Would you like something to eat? Or maybe a drink?

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Don't fuss over me, Sally. That's all I ask. Please don't fuss over me like a... like a mother hen.

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I like to fuss over you. Sorry, I... I didn't realize I was doing a mother hen, Beth. But you might have phoned me.

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I didn't feel like talking to anybody. Not anybody.

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Chris, what happened at the studio today? What difference does it make?

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Tell me. You're letting it all out on me and it's not fair. I have a right to be told.

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All right, I'll tell you. One of the grips had a valise full of greeting cards he was peddling.

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Greeting cards for Mother's Day. And Harry Minch was on the set and you know what a kid a Harry is.

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And he bought one for his mother and then he turned to me. I don't want to hear it.

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You'll hear it anyway. He turned to me and he said, Chris, these Mother's Day cards are beautiful.

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I said I don't want to hear it. They're beautiful. He said, why don't you send one to Sally?

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And that's not all. I won't listen. Take your hands away from your ears.

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Let me go! You're going to listen.

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Chris! I've been getting these dirty dicks since we first started seeing each other.

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Last summer. I was doing a scene with Ada Field last summer and someone asked me if I'd seen Sunset Boulevard

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and Ada yelled, seen it, he's living it.

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No! Please, please no more. Please.

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So now you know.

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Chris, look, we knew it wasn't going to be easy.

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There's knowing and then there's knowing.

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Leaving the lot this evening, I ran into Harley Duke and I braced him.

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How much longer am I going to be kept in small parts? I said, how much longer am I going to play third man in the posse in G-Mom?

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What's for dinner? He said, how can you be built into love's young green for the Bobby Soxers

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while you're married to someone twice your age?

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Get wise, kid. He said, get wise.

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That was seven, eight hours ago.

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Since then, I've got wise.

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You what?

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I'm leaving you.

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Chris, no. No.

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Chris, listen to me. It's not a perfect marriage.

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All right, so it's not a perfect marriage, but it's the only marriage we have and you try to make it work.

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For better or worse. That's what he said, for better or worse.

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I'm leaving. That's what I came back to say goodbye to Sally.

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Chris, no, I love you. You're all I have.

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That's your problem. I've got my own.

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Chris, I won't let you.

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Get out of my way.

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Chris, I won't let you.

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Get out of my way.

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No. Chris.

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Ever play with a kaleidoscope when you were a kid, Philip?

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Little doohickey filled with colored beads and stones.

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You put it to your eye and you see a wonderful pattern.

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You turn it a bit and you see a new pattern.

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Same stones, same beads.

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But now they make a new pattern.

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Love changes to hate just like that.

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Sally looks about the room after Chris leaves.

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Her gaze falls upon a little ceramic dog he bought for her on their honeymoon in Mexico.

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And suddenly she seizes it.

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And the lamps they bought at auction, at antique shops, one by one in the coffee table.

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The hutch table, the easy chair, the lamp seats, all the books on the shelf.

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And straight pictures on the walls.

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And in the morning when her maid comes in.

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Miss, Miss Thomas?

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I'll destroy him.

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Miss Thomas, honey?

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I'll destroy him.

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I'll destroy him.

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I'll destroy him.

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Hello? Hello, Dr. Kobe's office?

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I'll destroy him.

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This Miss Thomas maid. Let me speak to the doctor.

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I'll destroy him.

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That's all she says for a long time to come.

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Just those three words.

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Maybe that ought to be the title.

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Three lethal words.

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A pun, you know.

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Now the next part of the story is confused to me.

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It's not clear in my mind at all.

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There are doctors in it and people whispering to each other and looking at Sally.

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And a long automobile ride ending at a gate.

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She's taken to an asylum.

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A large sprawling place like a country club with guards.

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And they start to put her together again.

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They're very kind and patient and good at their jobs.

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And they put all the pieces in place.

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All except one.

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She hides that one from her.

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Because there's something she has to do.

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One night while playing canasta with one of the nurses in her room, she starts to do it.

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Care to play another hand, Sally?

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Isn't it time for you to go off duty?

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Oh, another half hour.

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Deal.

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Okay.

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Going to town?

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Uh-huh.

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Got a date?

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Uh-huh.

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Square dance.

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Got a new dress I'm going to wear.

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Nice?

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Oh.

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I'd show it to you, but it's my police.

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My police is in the car.

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Change at your sister's house, huh?

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Uh-huh.

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Fifteen.

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Where are you going?

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To get a hanky.

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Oh.

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They're very careful at the asylum.

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There's nothing you can use as a weapon.

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But the bureau in your room has three drawers, and you pull out one of the drawers all the way.

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And raise it above your head and get behind the nurse while her back is turned.

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And she's looking at the cards.

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And then you carry her to the bed and take off her uniform and put it on yourself.

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And cover her with the blankets.

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Then down the corridor and down the steps and across the lawn to the parking lot.

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There's only one bad moment at the gate.

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But all the man at the gate can see is your white uniform in the dark.

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And he knows the car.

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So you just wave to him.

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And he opens the gate.

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And you drive through.

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And once through, you step on the gas.

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And you're free.

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Free!

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Jane.

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Jane.

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What?

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Sit down, Jane.

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I got carried away.

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Where was I?

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Sally was driving away from the asylum.

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Have a cigarette.

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She's driving?

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Oh, yes.

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She drives through the darkness toward Hollywood.

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She's filled with a terrible eagerness.

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You see, she knows exactly what she's going to do.

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She's not going to kill Chris.

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Oh, no.

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Oh, that's too good for him.

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He's got to be destroyed.

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But it's no good if he's not alive to appreciate that.

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He's got to know he's been destroyed and go on knowing it.

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So she's decided to change that handsome face of his.

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Turn it into a scarred and pitted monstrosity.

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Something that will never, never again face a camera.

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Nor attract a woman.

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Nor cease to remind him that once there was a wife named Sally.

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Who loved him so much.

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She reaches Hollywood at dawn.

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Then she abandons the car on a side street.

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And walks and walks until she passes a shop selling artist supplies.

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Can I help you?

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Yes, I am.

226
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I'm doing some etching and I...

227
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Want me to make some plates?

228
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I've got some fine copper plates.

229
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No, no, I have enough plates.

230
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I'm out of acid, though.

231
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What mordants do you have?

232
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Let me see.

233
00:13:53,000 --> 00:13:55,000
Got some Dutch.

234
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Got the iron perchloride.

235
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Got the nitric.

236
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That's the best.

237
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I'll take a bottle.

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I don't seem to have it diluted.

239
00:14:02,000 --> 00:14:04,000
I'll take it full strength.

240
00:14:04,000 --> 00:14:06,000
Yes, ma'am.

241
00:14:06,000 --> 00:14:09,000
Oh, I don't suppose I have to warn you to be careful about handling it.

242
00:14:09,000 --> 00:14:11,000
No, I'll be very careful.

243
00:14:11,000 --> 00:14:12,000
Here you are.

244
00:14:12,000 --> 00:14:15,000
Thank you.

245
00:14:15,000 --> 00:14:17,000
I'm doing landscapes?

246
00:14:17,000 --> 00:14:18,000
No.

247
00:14:18,000 --> 00:14:21,000
No, as a matter of fact, I'm doing a portrait.

248
00:14:21,000 --> 00:14:22,000
Portrait of a man.

249
00:14:22,000 --> 00:14:26,000
From life.

250
00:14:26,000 --> 00:14:29,000
And there she was, out in the street with a bottle in her hand.

251
00:14:29,000 --> 00:14:32,000
A bottle just like this one, Philip.

252
00:14:32,000 --> 00:14:36,000
She's been a writer and she's known the joy of creation.

253
00:14:36,000 --> 00:14:40,000
But it can't compare to the exaltation she feels now.

254
00:14:40,000 --> 00:14:44,000
Now, as she goes forth to experience the joy of destruction.

255
00:14:44,000 --> 00:14:47,000
I'll destroy him, she says.

256
00:14:47,000 --> 00:14:49,000
I'll destroy him.

257
00:14:49,000 --> 00:14:52,000
I'll destroy him.

258
00:15:06,000 --> 00:15:10,000
Auto Light is bringing you Miss Joan Crawford in Three Lethal Words.

259
00:15:10,000 --> 00:15:19,000
Tonight's production in radio's outstanding theater of thrills, Suspense.

260
00:15:26,000 --> 00:15:28,000
Ready for Easter, Oscar Otto?

261
00:15:28,000 --> 00:15:30,000
Sure am, Mr. Wilcox.

262
00:15:30,000 --> 00:15:35,000
With an auto light staple battery under my hood, I'll be the jauntiest jitney in the parade.

263
00:15:35,000 --> 00:15:41,000
Well, you can't miss if you've got the battery that needs water only three times a year in normal car use, Oscar.

264
00:15:41,000 --> 00:15:47,000
Why, that auto light staple has over three times the liquid reserve of batteries without staple features.

265
00:15:47,000 --> 00:15:50,000
And it has those great fiberglass retaining mats.

266
00:15:50,000 --> 00:15:55,000
It sure has, Oscar, and they prevent shedding and flaking and keep the power producing materials in place.

267
00:15:55,000 --> 00:16:04,000
That's why the auto light staple gives longer life, as proved by tests conducted according to accepted life cycle standards, eh, Mr. Wilcox?

268
00:16:04,000 --> 00:16:08,000
And you're not just banging your hubcaps, Junior.

269
00:16:08,000 --> 00:16:17,000
So, friends, see your auto light battery dealer for your auto light staple, the battery that needs water only three times a year in normal car use.

270
00:16:17,000 --> 00:16:21,000
And remember, you're always right with auto light.

271
00:16:21,000 --> 00:16:30,000
And now auto light brings back to our Hollywood soundstage Miss Joan Crawford in Elliot Lewis's production of Three Lethal Words.

272
00:16:30,000 --> 00:16:35,000
A tale well calculated to keep you in suspense.

273
00:16:42,000 --> 00:16:47,000
Sitting here talking to you. It's like old times, isn't it, Chris?

274
00:16:47,000 --> 00:16:49,000
Philip.

275
00:16:49,000 --> 00:16:50,000
What?

276
00:16:50,000 --> 00:16:57,000
You, you just called me Chris, the name of the young actor in your story. You called me Chris instead of Philip.

277
00:16:57,000 --> 00:16:58,000
Philip?

278
00:16:58,000 --> 00:17:02,000
Oh, yes, it's Philip, isn't it? For a moment, I...

279
00:17:02,000 --> 00:17:06,000
Jane, why don't you put the bottle down on the desk?

280
00:17:06,000 --> 00:17:07,000
Why?

281
00:17:07,000 --> 00:17:09,000
Well, just put it down on the desk, huh?

282
00:17:09,000 --> 00:17:10,000
Why should I?

283
00:17:10,000 --> 00:17:15,000
Well, you might accidentally spill some, gesturing with it in your hand, and it does contain a powerful acid.

284
00:17:15,000 --> 00:17:19,000
Don't you think I know that? Do you think I'm irresponsible or something?

285
00:17:19,000 --> 00:17:20,000
No, no, no, of course not.

286
00:17:20,000 --> 00:17:25,000
I don't think I care for your attitude, my young friend. What makes you think I can be spoken to like that?

287
00:17:25,000 --> 00:17:29,000
What makes you think you can treat me like this, Chris? What makes you think you can get away with it?

288
00:17:29,000 --> 00:17:30,000
You listen to me, Chris!

289
00:17:30,000 --> 00:17:36,000
Philip, Jane, not Chris. Philip. Chris is the young man in your story.

290
00:17:36,000 --> 00:17:42,000
Go on with your story, Jane. Yes, I'm enjoying it.

291
00:17:42,000 --> 00:17:43,000
Story?

292
00:17:43,000 --> 00:17:51,000
Yes. Sally Summers had just left the shop with a bottle of nitric acid in her hand. What did she do then?

293
00:17:51,000 --> 00:17:55,000
Huh. You really enjoy it, don't you?

294
00:17:55,000 --> 00:18:05,000
It is rather good, isn't it? Except the end. I don't like the end. It's not the end I want.

295
00:18:05,000 --> 00:18:16,000
I, uh, that is she, Sally, sets out to locate Chris. She enters a drug store, goes into a phone booth.

296
00:18:16,000 --> 00:18:18,000
Hollywood 95264.

297
00:18:18,000 --> 00:18:25,000
Hello. This is Mr. Summers' housekeeper. Is it possible for me to speak to Mr. Summers, Christopher Summers?

298
00:18:25,000 --> 00:18:29,000
One moment, please.

299
00:18:29,000 --> 00:18:30,000
Hello.

300
00:18:30,000 --> 00:18:31,000
Hello.

301
00:18:31,000 --> 00:18:38,000
Hello, Mr. Summers is with the Lucifer Labs unit. They're shooting out on the back lot today. I can't put you through to them. Get a leave of message.

302
00:18:38,000 --> 00:18:50,000
No. It can wait. Thank you.

303
00:18:50,000 --> 00:18:52,000
Sure you don't want to come in for a drink, huh?

304
00:18:52,000 --> 00:18:57,000
Oh, no. I want to shower first. Chris, is there any word on her?

305
00:18:57,000 --> 00:19:00,000
Oh, no. I'm worried, aren't you?

306
00:19:00,000 --> 00:19:01,000
Not for myself, no.

307
00:19:01,000 --> 00:19:03,000
Well, you don't have to worry about me.

308
00:19:03,000 --> 00:19:04,000
Chris.

309
00:19:03,000 --> 00:19:07,000
Now go shower. I'll pick you up for dinner. Where are we going tonight?

310
00:19:07,000 --> 00:19:10,000
Well, Zelda and Charlie expect us at their place. Chris.

311
00:19:10,000 --> 00:19:19,000
I don't look so worried. It's all right. I'll see you soon, isn't it?

312
00:19:19,000 --> 00:19:22,000
Hello, Chris.

313
00:19:22,000 --> 00:19:24,000
Sally.

314
00:19:24,000 --> 00:19:26,000
Long time no see.

315
00:19:26,000 --> 00:19:27,000
Well, Sally, I...

316
00:19:27,000 --> 00:19:30,000
Sit down, Chris. Sit down.

317
00:19:30,000 --> 00:19:32,000
Well, how are you, Sally?

318
00:19:32,000 --> 00:19:38,000
I want to look at you. I'd almost forgotten how good-looking you are.

319
00:19:38,000 --> 00:19:41,000
You really are, you know.

320
00:19:41,000 --> 00:19:44,000
How's the career? The career, how goes it?

321
00:19:44,000 --> 00:19:46,000
Oh, all right, I guess. Sally...

322
00:19:46,000 --> 00:19:48,000
Are they starring you?

323
00:19:48,000 --> 00:19:50,000
Beginning with this one. Sally...

324
00:19:50,000 --> 00:19:54,000
Good. Are you happy? No more dirty dicks?

325
00:19:54,000 --> 00:19:56,000
I'm happy, I guess.

326
00:19:56,000 --> 00:20:01,000
This is the picture of the lucky girl? She's lovely.

327
00:20:01,000 --> 00:20:04,000
So young.

328
00:20:04,000 --> 00:20:07,000
I'm very pleased, Chris.

329
00:20:07,000 --> 00:20:10,000
This is just the way I wanted you for the moment.

330
00:20:10,000 --> 00:20:13,000
Successful, happy, in love.

331
00:20:13,000 --> 00:20:15,000
Sally, I want you to know I never meant to play the heavy in your life.

332
00:20:15,000 --> 00:20:16,000
I know.

333
00:20:16,000 --> 00:20:18,000
Don't think I never felt badly about everything.

334
00:20:18,000 --> 00:20:19,000
I know.

335
00:20:19,000 --> 00:20:23,000
Words aren't much good, but I want you to know I didn't mean for you to be hurt.

336
00:20:23,000 --> 00:20:24,000
I know.

337
00:20:24,000 --> 00:20:26,000
And if there's anything I can do for you...

338
00:20:26,000 --> 00:20:28,000
There's one thing you can do for me.

339
00:20:28,000 --> 00:20:29,000
Just name it.

340
00:20:29,000 --> 00:20:31,000
Look at me.

341
00:20:31,000 --> 00:20:34,000
Take a good long look at my face.

342
00:20:34,000 --> 00:20:35,000
Why?

343
00:20:35,000 --> 00:20:39,000
Because I want it to be the last thing you're ever going to see!

344
00:20:39,000 --> 00:20:41,000
Oh!

345
00:20:47,000 --> 00:20:50,000
That night, back at the asylum,

346
00:20:50,000 --> 00:20:55,000
she enjoys the first untroubled night's rest she's had in a long time.

347
00:20:55,000 --> 00:20:58,000
No sedatives, no wet packs, nothing.

348
00:20:58,000 --> 00:21:00,000
She just sleeps.

349
00:21:00,000 --> 00:21:04,000
And after that, she gives them the part of herself that she's kept hidden.

350
00:21:04,000 --> 00:21:08,000
And now they have a real chance to make her whole and well again.

351
00:21:08,000 --> 00:21:10,000
But it takes time.

352
00:21:10,000 --> 00:21:13,000
Two years, three years, four.

353
00:21:13,000 --> 00:21:17,000
And one day they tell her she's as well as they can possibly make her and fit to leave.

354
00:21:17,000 --> 00:21:21,000
If she avoids strain, avoids shocks,

355
00:21:21,000 --> 00:21:23,000
remembers all that she's learned about herself,

356
00:21:23,000 --> 00:21:28,000
there's no reason why she cannot go out and make a place for herself in the outside world.

357
00:21:28,000 --> 00:21:31,000
One evening, shortly after they tell her that,

358
00:21:31,000 --> 00:21:33,000
she finds herself in the reception office,

359
00:21:33,000 --> 00:21:36,000
police packed, waiting for the car that will take her away.

360
00:21:36,000 --> 00:21:38,000
Her doctor is with her, saying goodbye,

361
00:21:38,000 --> 00:21:41,000
and there's a small radio on one corner playing a waltz.

362
00:21:41,000 --> 00:21:44,000
Write to me occasionally. I want to hear from you.

363
00:21:44,000 --> 00:21:45,000
I'll keep in touch.

364
00:21:45,000 --> 00:21:47,000
And if you ever wish to see me...

365
00:21:47,000 --> 00:21:48,000
I won't hesitate.

366
00:21:48,000 --> 00:21:51,000
I think I hear your car coming now, yes.

367
00:21:51,000 --> 00:21:52,000
Goodbye, Sally.

368
00:21:52,000 --> 00:21:54,000
Goodbye, doctor.

369
00:21:54,000 --> 00:21:56,000
Break any rules if I kiss you?

370
00:21:56,000 --> 00:21:58,000
After this long friendship, I'll be silly.

371
00:21:58,000 --> 00:22:00,000
Thank you.

372
00:22:00,000 --> 00:22:03,000
And now the moment for which you have all been waiting.

373
00:22:03,000 --> 00:22:07,000
The announcement of the winner of this year's Blaisdell Prize.

374
00:22:07,000 --> 00:22:10,000
Any chance of your ever winning the Blaisdell Prize?

375
00:22:10,000 --> 00:22:13,000
I've been planning to write the great American novel for some time.

376
00:22:13,000 --> 00:22:16,000
And so, without further ado,

377
00:22:16,000 --> 00:22:20,000
our guest of honor and the recipient of this year's Blaisdell Prize

378
00:22:20,000 --> 00:22:22,000
for the best American novel.

379
00:22:22,000 --> 00:22:23,000
Ready, Sally.

380
00:22:23,000 --> 00:22:25,000
Wait a minute. I just want to hear this.

381
00:22:25,000 --> 00:22:28,000
Ladies and gentlemen, I take great pride in introducing to you

382
00:22:28,000 --> 00:22:30,000
Mr. Christopher Summers.

383
00:22:30,000 --> 00:22:32,000
Sally.

384
00:22:32,000 --> 00:22:34,000
Thank you.

385
00:22:34,000 --> 00:22:38,000
The pathway leading to the literary life is a rocky one,

386
00:22:38,000 --> 00:22:40,000
and in my own case, a sunless one.

387
00:22:40,000 --> 00:22:43,000
And were it not for my Lisa and her helping hand,

388
00:22:43,000 --> 00:22:46,000
I doubt that I should ever have found it.

389
00:22:46,000 --> 00:22:48,000
Some years ago, my sight and my career

390
00:22:48,000 --> 00:22:51,000
in an entirely different field of endeavor were destroyed.

391
00:22:51,000 --> 00:22:53,000
Sally.

392
00:22:53,000 --> 00:22:55,000
Nurse, turn that off.

393
00:22:55,000 --> 00:22:57,000
Sally.

394
00:22:57,000 --> 00:22:59,000
Sally, listen to me.

395
00:22:59,000 --> 00:23:01,000
Sally.

396
00:23:01,000 --> 00:23:03,000
Sally.

397
00:23:03,000 --> 00:23:05,000
Oh, oh.

398
00:23:05,000 --> 00:23:08,000
But she couldn't stop laughing.

399
00:23:08,000 --> 00:23:11,000
For all I know, the car that came to fetch her is still waiting.

400
00:23:11,000 --> 00:23:13,000
Isn't that funny?

401
00:23:13,000 --> 00:23:21,000
Isn't that the funniest thing you've ever heard?

402
00:23:21,000 --> 00:23:24,000
I don't know why I'm laughing.

403
00:23:24,000 --> 00:23:27,000
Because it's really sad in a way.

404
00:23:27,000 --> 00:23:33,000
Really awfully sad in a way.

405
00:23:33,000 --> 00:23:35,000
Sit down, Chris.

406
00:23:35,000 --> 00:23:37,000
Sit down.

407
00:23:37,000 --> 00:23:39,000
Not Chris, Jane.

408
00:23:39,000 --> 00:23:41,000
Philip. Philip.

409
00:23:41,000 --> 00:23:45,000
I'd almost forgotten how good-looking you are.

410
00:23:45,000 --> 00:23:48,000
You really are, you know.

411
00:23:48,000 --> 00:23:50,000
How's the career?

412
00:23:50,000 --> 00:23:52,000
The career, how goes it?

413
00:23:52,000 --> 00:23:53,000
Jane, Jane, listen to me.

414
00:23:53,000 --> 00:23:54,000
Are they sarring you?

415
00:23:54,000 --> 00:23:55,000
I'm not Chris, Jane.

416
00:23:55,000 --> 00:23:57,000
I'm Philip. Philip Lewis.

417
00:23:57,000 --> 00:23:58,000
Are you happy?

418
00:23:58,000 --> 00:23:59,000
No more dirty digs?

419
00:23:59,000 --> 00:24:01,000
Jane, Jane, I want you to listen to me.

420
00:24:01,000 --> 00:24:03,000
Listen to me very carefully.

421
00:24:03,000 --> 00:24:05,000
This the picture of the lucky girl?

422
00:24:05,000 --> 00:24:07,000
She's lovely.

423
00:24:07,000 --> 00:24:10,000
So young.

424
00:24:10,000 --> 00:24:13,000
I'm very pleased, Chris.

425
00:24:13,000 --> 00:24:16,000
It's just the way I wanted you for this moment.

426
00:24:16,000 --> 00:24:18,000
Successful, happy, in love.

427
00:24:18,000 --> 00:24:20,000
Jane, sit down.

428
00:24:20,000 --> 00:24:21,000
You're not well, Jane.

429
00:24:21,000 --> 00:24:23,000
Do you understand what I'm saying?

430
00:24:23,000 --> 00:24:24,000
I know.

431
00:24:24,000 --> 00:24:26,000
You sure you understand?

432
00:24:26,000 --> 00:24:27,000
I know.

433
00:24:27,000 --> 00:24:28,000
I'm your friend.

434
00:24:28,000 --> 00:24:30,000
You and I have been friends for a long time.

435
00:24:30,000 --> 00:24:31,000
I know.

436
00:24:31,000 --> 00:24:35,000
Jane, let me have that bottle like a good girl.

437
00:24:35,000 --> 00:24:37,000
There's one thing you can do for me.

438
00:24:37,000 --> 00:24:38,000
Jane, the bottle.

439
00:24:38,000 --> 00:24:39,000
Let me have it.

440
00:24:39,000 --> 00:24:40,000
Jane, don't open it.

441
00:24:40,000 --> 00:24:42,000
Look at me.

442
00:24:42,000 --> 00:24:44,000
Take a good long look at my face.

443
00:24:44,000 --> 00:24:45,000
Jane, Jane.

444
00:24:45,000 --> 00:24:47,000
Because I want it to be the last thing you'll...

445
00:24:47,000 --> 00:24:50,000
Take that, Jane.

446
00:24:50,000 --> 00:24:51,000
Hmm?

447
00:24:51,000 --> 00:24:53,000
Thank you.

448
00:24:53,000 --> 00:24:54,000
Now give me the cap.

449
00:24:54,000 --> 00:24:57,000
Give it to me, Jane.

450
00:24:57,000 --> 00:25:01,000
There we are.

451
00:25:01,000 --> 00:25:02,000
Doctor?

452
00:25:02,000 --> 00:25:04,000
Yes, it's all right, Jane.

453
00:25:04,000 --> 00:25:08,000
I'm here, I'm here.

454
00:25:08,000 --> 00:25:10,000
Nobody loves me.

455
00:25:10,000 --> 00:25:11,000
Shh.

456
00:25:11,000 --> 00:25:14,000
It's all right, Jane.

457
00:25:14,000 --> 00:25:18,000
Nobody in the whole world.

458
00:25:18,000 --> 00:25:20,000
Shh.

459
00:25:20,000 --> 00:25:22,000
Ha ha ha.

460
00:25:22,000 --> 00:25:24,000
Ha ha ha.

461
00:25:24,000 --> 00:25:26,000
Ha ha ha.

462
00:25:26,000 --> 00:25:27,000
Are you all right?

463
00:25:27,000 --> 00:25:28,000
I think so.

464
00:25:28,000 --> 00:25:29,000
I'm sorry about this.

465
00:25:29,000 --> 00:25:32,000
It's the second time in six years she slept away.

466
00:25:32,000 --> 00:25:34,000
Mind if I sit down?

467
00:25:34,000 --> 00:25:36,000
I expect you're going into shock.

468
00:25:36,000 --> 00:25:37,000
Do you feel cold?

469
00:25:37,000 --> 00:25:40,000
She wanted to sell me a story.

470
00:25:40,000 --> 00:25:41,000
Yes, I know.

471
00:25:41,000 --> 00:25:44,000
She writes it down over and over again.

472
00:25:44,000 --> 00:25:47,000
Paints it when we give her paints.

473
00:25:47,000 --> 00:25:48,000
Why did she come to you?

474
00:25:48,000 --> 00:25:49,000
Any idea?

475
00:25:49,000 --> 00:25:52,000
Yes, I knew her in the old days.

476
00:25:52,000 --> 00:25:54,000
Are you a writer too?

477
00:25:54,000 --> 00:25:56,000
No, I'm head of the story department here.

478
00:25:56,000 --> 00:25:59,000
I find stories to make into movies, you know.

479
00:25:59,000 --> 00:26:02,000
That must be very interesting work.

480
00:26:02,000 --> 00:26:04,000
It has its moments.

481
00:26:04,000 --> 00:26:24,000
Music

482
00:26:24,000 --> 00:26:26,000
Suspense.

483
00:26:26,000 --> 00:26:28,000
Presented by Autolite.

484
00:26:28,000 --> 00:26:31,000
Tonight's star, Miss Joan Crawford.

485
00:26:31,000 --> 00:26:36,000
If all the cars could talk like me, we'd all run really right.

486
00:26:36,000 --> 00:26:41,000
Cause the request of every car would be, give me Autolite.

487
00:26:41,000 --> 00:26:44,000
And they couldn't ask for better, Oscar Otto.

488
00:26:44,000 --> 00:26:49,000
Because Autolite makes over 400 fine products for cars, trucks, planes and boats

489
00:26:49,000 --> 00:26:52,000
in 28 plants from coast to coast.

490
00:26:52,000 --> 00:26:56,000
These include complete ignition systems used as original factory equipment

491
00:26:56,000 --> 00:26:59,000
on many leading makes of our finest cars.

492
00:26:59,000 --> 00:27:03,000
Generators, coils, distributors, electric windshield wipers, voltage regulators,

493
00:27:03,000 --> 00:27:07,000
wire and cable, starting motors and many more.

494
00:27:07,000 --> 00:27:10,000
They're all engineered to fit together perfectly, work together perfectly

495
00:27:10,000 --> 00:27:14,000
because they're all part of the Autolite team.

496
00:27:14,000 --> 00:27:18,000
So friends, don't accept electrical parts supposed to be as good.

497
00:27:18,000 --> 00:27:22,000
Ask for and insist on Autolite original factory parts

498
00:27:22,000 --> 00:27:26,000
at your neighborhood service station, car dealer, garage or repair shop.

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Remember, you're always right with Autolite.

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Music

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Next week on Suspense, our star will be Mr. Jack Carson in Death Pitch.

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And on April 5th, you will hear in his first appearance on this program

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and only dramatic appearance of the season, America's favorite comedian, Mr. Jack Benny.

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Following Mr. Benny, you will hear such famous stars as Lucille Ball and Desi Arnaz

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and James Stewart all on Suspense.

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Music

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Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morawek

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and conducted by Lut Bluskin.

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Three Lethal Words was adapted for Suspense by Walter Newman from a story by Charles Behan.

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Portions of this program were transcribed.

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In tonight's play, High Aberback was heard as Chris and Joseph Kearns as Philip.

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Others in the cast were Ted D'Cossia, Lillian Vyoff, Don Diamond, B. Benaderet and Sylvia Sims.

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Joan Crawford will soon be seen in the Warner Brothers production, Goodbye My Fancy.

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And remember next week on Suspense, Mr. Jack Carson.

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As a man who talked to death all those who stood in the way of what he wanted.

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A story we call Death Pitch.

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00:28:56,000 --> 00:29:00,000
You can buy auto light staple batteries, auto light resistor type or standard type spark plugs,

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00:29:00,000 --> 00:29:03,000
auto light electrical parts at your neighborhood auto light dealers.

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Switch to auto light. Good night.

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This is CBS, the Columbia Broadcasting System.

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Music