WEBVTT

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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.

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I'm doing some etching and I...

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Want me to make some plates?

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I've got some fine copper plates.

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No, no, I have enough plates.

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I'm out of acid, though.

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What mordants do you have?

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Let me see.

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Got some Dutch.

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Got the iron perchloride.

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Got the nitric.

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That's the best.

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I'll take a bottle.

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I don't seem to have it diluted.

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I'll take it full strength.

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Yes, ma'am.

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Oh, I don't suppose I have to warn you to be careful about handling it.

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No, I'll be very careful.

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Here you are.

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Thank you.

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I'm doing landscapes?

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No.

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No, as a matter of fact, I'm doing a portrait.

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Portrait of a man.

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From life.

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And there she was, out in the street with a bottle in her hand.

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A bottle just like this one, Philip.

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She's been a writer and she's known the joy of creation.

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But it can't compare to the exaltation she feels now.

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Now, as she goes forth to experience the joy of destruction.

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I'll destroy him, she says.

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I'll destroy him.

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I'll destroy him.

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Auto Light is bringing you Miss Joan Crawford in Three Lethal Words.

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Tonight's production in radio's outstanding theater of thrills, Suspense.

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Ready for Easter, Oscar Otto?

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Sure am, Mr. Wilcox.

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With an auto light staple battery under my hood, I'll be the jauntiest jitney in the parade.

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Well, you can't miss if you've got the battery that needs water only three times a year in normal car use, Oscar.

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Why, that auto light staple has over three times the liquid reserve of batteries without staple features.

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And it has those great fiberglass retaining mats.

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It sure has, Oscar, and they prevent shedding and flaking and keep the power producing materials in place.

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That's why the auto light staple gives longer life, as proved by tests conducted according to accepted life cycle standards, eh, Mr. Wilcox?

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And you're not just banging your hubcaps, Junior.

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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.

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And remember, you're always right with auto light.

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And now auto light brings back to our Hollywood soundstage Miss Joan Crawford in Elliot Lewis's production of Three Lethal Words.

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A tale well calculated to keep you in suspense.

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Sitting here talking to you. It's like old times, isn't it, Chris?

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Philip.

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What?

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You, you just called me Chris, the name of the young actor in your story. You called me Chris instead of Philip.

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Philip?

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Oh, yes, it's Philip, isn't it? For a moment, I...

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Jane, why don't you put the bottle down on the desk?

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Why?

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Well, just put it down on the desk, huh?

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Why should I?

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Well, you might accidentally spill some, gesturing with it in your hand, and it does contain a powerful acid.

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Don't you think I know that? Do you think I'm irresponsible or something?

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No, no, no, of course not.

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I don't think I care for your attitude, my young friend. What makes you think I can be spoken to like that?

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What makes you think you can treat me like this, Chris? What makes you think you can get away with it?

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You listen to me, Chris!

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Philip, Jane, not Chris. Philip. Chris is the young man in your story.

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Go on with your story, Jane. Yes, I'm enjoying it.

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Story?

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Yes. Sally Summers had just left the shop with a bottle of nitric acid in her hand. What did she do then?

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Huh. You really enjoy it, don't you?

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It is rather good, isn't it? Except the end. I don't like the end. It's not the end I want.

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I, uh, that is she, Sally, sets out to locate Chris. She enters a drug store, goes into a phone booth.

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Hollywood 95264.

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Hello. This is Mr. Summers' housekeeper. Is it possible for me to speak to Mr. Summers, Christopher Summers?

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One moment, please.

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Hello.

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Hello.

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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.

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No. It can wait. Thank you.

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Sure you don't want to come in for a drink, huh?

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Oh, no. I want to shower first. Chris, is there any word on her?

18:57.000 --> 19:00.000
Oh, no. I'm worried, aren't you?

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Not for myself, no.

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Well, you don't have to worry about me.

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Chris.

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Now go shower. I'll pick you up for dinner. Where are we going tonight?

19:07.000 --> 19:10.000
Well, Zelda and Charlie expect us at their place. Chris.

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I don't look so worried. It's all right. I'll see you soon, isn't it?

19:19.000 --> 19:22.000
Hello, Chris.

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Sally.

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Long time no see.

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Well, Sally, I...

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Sit down, Chris. Sit down.

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Well, how are you, Sally?

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I want to look at you. I'd almost forgotten how good-looking you are.

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You really are, you know.

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How's the career? The career, how goes it?

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Oh, all right, I guess. Sally...

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Are they starring you?

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Beginning with this one. Sally...

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Good. Are you happy? No more dirty dicks?

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I'm happy, I guess.

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This is the picture of the lucky girl? She's lovely.

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So young.

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I'm very pleased, Chris.

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This is just the way I wanted you for the moment.

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Successful, happy, in love.

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Sally, I want you to know I never meant to play the heavy in your life.

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I know.

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Don't think I never felt badly about everything.

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I know.

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Words aren't much good, but I want you to know I didn't mean for you to be hurt.

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I know.

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And if there's anything I can do for you...

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There's one thing you can do for me.

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Just name it.

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Look at me.

20:31.000 --> 20:34.000
Take a good long look at my face.

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Why?

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Because I want it to be the last thing you're ever going to see!

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Oh!

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That night, back at the asylum,

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she enjoys the first untroubled night's rest she's had in a long time.

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No sedatives, no wet packs, nothing.

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She just sleeps.

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And after that, she gives them the part of herself that she's kept hidden.

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And now they have a real chance to make her whole and well again.

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But it takes time.

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Two years, three years, four.

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And one day they tell her she's as well as they can possibly make her and fit to leave.

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If she avoids strain, avoids shocks,

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remembers all that she's learned about herself,

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there's no reason why she cannot go out and make a place for herself in the outside world.

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One evening, shortly after they tell her that,

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she finds herself in the reception office,

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police packed, waiting for the car that will take her away.

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Her doctor is with her, saying goodbye,

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and there's a small radio on one corner playing a waltz.

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Write to me occasionally. I want to hear from you.

21:44.000 --> 21:45.000
I'll keep in touch.

21:45.000 --> 21:47.000
And if you ever wish to see me...

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I won't hesitate.

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I think I hear your car coming now, yes.

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Goodbye, Sally.

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Goodbye, doctor.

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Break any rules if I kiss you?

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After this long friendship, I'll be silly.

21:58.000 --> 22:00.000
Thank you.

22:00.000 --> 22:03.000
And now the moment for which you have all been waiting.

22:03.000 --> 22:07.000
The announcement of the winner of this year's Blaisdell Prize.

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Any chance of your ever winning the Blaisdell Prize?

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I've been planning to write the great American novel for some time.

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And so, without further ado,

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our guest of honor and the recipient of this year's Blaisdell Prize

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for the best American novel.

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Ready, Sally.

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Wait a minute. I just want to hear this.

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Ladies and gentlemen, I take great pride in introducing to you

22:28.000 --> 22:30.000
Mr. Christopher Summers.

22:30.000 --> 22:32.000
Sally.

22:32.000 --> 22:34.000
Thank you.

22:34.000 --> 22:38.000
The pathway leading to the literary life is a rocky one,

22:38.000 --> 22:40.000
and in my own case, a sunless one.

22:40.000 --> 22:43.000
And were it not for my Lisa and her helping hand,

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I doubt that I should ever have found it.

22:46.000 --> 22:48.000
Some years ago, my sight and my career

22:48.000 --> 22:51.000
in an entirely different field of endeavor were destroyed.

22:51.000 --> 22:53.000
Sally.

22:53.000 --> 22:55.000
Nurse, turn that off.

22:55.000 --> 22:57.000
Sally.

22:57.000 --> 22:59.000
Sally, listen to me.

22:59.000 --> 23:01.000
Sally.

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Sally.

23:03.000 --> 23:05.000
Oh, oh.

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But she couldn't stop laughing.

23:08.000 --> 23:11.000
For all I know, the car that came to fetch her is still waiting.

23:11.000 --> 23:13.000
Isn't that funny?

23:13.000 --> 23:21.000
Isn't that the funniest thing you've ever heard?

23:21.000 --> 23:24.000
I don't know why I'm laughing.

23:24.000 --> 23:27.000
Because it's really sad in a way.

23:27.000 --> 23:33.000
Really awfully sad in a way.

23:33.000 --> 23:35.000
Sit down, Chris.

23:35.000 --> 23:37.000
Sit down.

23:37.000 --> 23:39.000
Not Chris, Jane.

23:39.000 --> 23:41.000
Philip. Philip.

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I'd almost forgotten how good-looking you are.

23:45.000 --> 23:48.000
You really are, you know.

23:48.000 --> 23:50.000
How's the career?

23:50.000 --> 23:52.000
The career, how goes it?

23:52.000 --> 23:53.000
Jane, Jane, listen to me.

23:53.000 --> 23:54.000
Are they sarring you?

23:54.000 --> 23:55.000
I'm not Chris, Jane.

23:55.000 --> 23:57.000
I'm Philip. Philip Lewis.

23:57.000 --> 23:58.000
Are you happy?

23:58.000 --> 23:59.000
No more dirty digs?

23:59.000 --> 24:01.000
Jane, Jane, I want you to listen to me.

24:01.000 --> 24:03.000
Listen to me very carefully.

24:03.000 --> 24:05.000
This the picture of the lucky girl?

24:05.000 --> 24:07.000
She's lovely.

24:07.000 --> 24:10.000
So young.

24:10.000 --> 24:13.000
I'm very pleased, Chris.

24:13.000 --> 24:16.000
It's just the way I wanted you for this moment.

24:16.000 --> 24:18.000
Successful, happy, in love.

24:18.000 --> 24:20.000
Jane, sit down.

24:20.000 --> 24:21.000
You're not well, Jane.

24:21.000 --> 24:23.000
Do you understand what I'm saying?

24:23.000 --> 24:24.000
I know.

24:24.000 --> 24:26.000
You sure you understand?

24:26.000 --> 24:27.000
I know.

24:27.000 --> 24:28.000
I'm your friend.

24:28.000 --> 24:30.000
You and I have been friends for a long time.

24:30.000 --> 24:31.000
I know.

24:31.000 --> 24:35.000
Jane, let me have that bottle like a good girl.

24:35.000 --> 24:37.000
There's one thing you can do for me.

24:37.000 --> 24:38.000
Jane, the bottle.

24:38.000 --> 24:39.000
Let me have it.

24:39.000 --> 24:40.000
Jane, don't open it.

24:40.000 --> 24:42.000
Look at me.

24:42.000 --> 24:44.000
Take a good long look at my face.

24:44.000 --> 24:45.000
Jane, Jane.

24:45.000 --> 24:47.000
Because I want it to be the last thing you'll...

24:47.000 --> 24:50.000
Take that, Jane.

24:50.000 --> 24:51.000
Hmm?

24:51.000 --> 24:53.000
Thank you.

24:53.000 --> 24:54.000
Now give me the cap.

24:54.000 --> 24:57.000
Give it to me, Jane.

24:57.000 --> 25:01.000
There we are.

25:01.000 --> 25:02.000
Doctor?

25:02.000 --> 25:04.000
Yes, it's all right, Jane.

25:04.000 --> 25:08.000
I'm here, I'm here.

25:08.000 --> 25:10.000
Nobody loves me.

25:10.000 --> 25:11.000
Shh.

25:11.000 --> 25:14.000
It's all right, Jane.

25:14.000 --> 25:18.000
Nobody in the whole world.

25:18.000 --> 25:20.000
Shh.

25:20.000 --> 25:22.000
Ha ha ha.

25:22.000 --> 25:24.000
Ha ha ha.

25:24.000 --> 25:26.000
Ha ha ha.

25:26.000 --> 25:27.000
Are you all right?

25:27.000 --> 25:28.000
I think so.

25:28.000 --> 25:29.000
I'm sorry about this.

25:29.000 --> 25:32.000
It's the second time in six years she slept away.

25:32.000 --> 25:34.000
Mind if I sit down?

25:34.000 --> 25:36.000
I expect you're going into shock.

25:36.000 --> 25:37.000
Do you feel cold?

25:37.000 --> 25:40.000
She wanted to sell me a story.

25:40.000 --> 25:41.000
Yes, I know.

25:41.000 --> 25:44.000
She writes it down over and over again.

25:44.000 --> 25:47.000
Paints it when we give her paints.

25:47.000 --> 25:48.000
Why did she come to you?

25:48.000 --> 25:49.000
Any idea?

25:49.000 --> 25:52.000
Yes, I knew her in the old days.

25:52.000 --> 25:54.000
Are you a writer too?

25:54.000 --> 25:56.000
No, I'm head of the story department here.

25:56.000 --> 25:59.000
I find stories to make into movies, you know.

25:59.000 --> 26:02.000
That must be very interesting work.

26:02.000 --> 26:04.000
It has its moments.

26:04.000 --> 26:24.000
Music

26:24.000 --> 26:26.000
Suspense.

26:26.000 --> 26:28.000
Presented by Autolite.

26:28.000 --> 26:31.000
Tonight's star, Miss Joan Crawford.

26:31.000 --> 26:36.000
If all the cars could talk like me, we'd all run really right.

26:36.000 --> 26:41.000
Cause the request of every car would be, give me Autolite.

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And they couldn't ask for better, Oscar Otto.

26:44.000 --> 26:49.000
Because Autolite makes over 400 fine products for cars, trucks, planes and boats

26:49.000 --> 26:52.000
in 28 plants from coast to coast.

26:52.000 --> 26:56.000
These include complete ignition systems used as original factory equipment

26:56.000 --> 26:59.000
on many leading makes of our finest cars.

26:59.000 --> 27:03.000
Generators, coils, distributors, electric windshield wipers, voltage regulators,

27:03.000 --> 27:07.000
wire and cable, starting motors and many more.

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They're all engineered to fit together perfectly, work together perfectly

27:10.000 --> 27:14.000
because they're all part of the Autolite team.

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So friends, don't accept electrical parts supposed to be as good.

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Ask for and insist on Autolite original factory parts

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at your neighborhood service station, car dealer, garage or repair shop.

27:26.000 --> 27:29.000
Remember, you're always right with Autolite.

27:29.000 --> 27:36.000
Music

27:36.000 --> 27:41.000
Next week on Suspense, our star will be Mr. Jack Carson in Death Pitch.

27:41.000 --> 27:45.000
And on April 5th, you will hear in his first appearance on this program

27:45.000 --> 27:50.000
and only dramatic appearance of the season, America's favorite comedian, Mr. Jack Benny.

27:50.000 --> 27:55.000
Following Mr. Benny, you will hear such famous stars as Lucille Ball and Desi Arnaz

27:55.000 --> 28:00.000
and James Stewart all on Suspense.

28:00.000 --> 28:09.000
Music

28:09.000 --> 28:13.000
Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morawek

28:13.000 --> 28:16.000
and conducted by Lut Bluskin.

28:16.000 --> 28:21.000
Three Lethal Words was adapted for Suspense by Walter Newman from a story by Charles Behan.

28:21.000 --> 28:24.000
Portions of this program were transcribed.

28:24.000 --> 28:29.000
In tonight's play, High Aberback was heard as Chris and Joseph Kearns as Philip.

28:29.000 --> 28:36.000
Others in the cast were Ted D'Cossia, Lillian Vyoff, Don Diamond, B. Benaderet and Sylvia Sims.

28:36.000 --> 28:40.000
Joan Crawford will soon be seen in the Warner Brothers production, Goodbye My Fancy.

28:40.000 --> 28:44.000
And remember next week on Suspense, Mr. Jack Carson.

28:44.000 --> 28:50.000
As a man who talked to death all those who stood in the way of what he wanted.

28:50.000 --> 28:56.000
A story we call Death Pitch.

28:56.000 --> 29:00.000
You can buy auto light staple batteries, auto light resistor type or standard type spark plugs,

29:00.000 --> 29:03.000
auto light electrical parts at your neighborhood auto light dealers.

29:03.000 --> 29:06.000
Switch to auto light. Good night.

29:06.000 --> 29:09.000
This is CBS, the Columbia Broadcasting System.

29:09.000 --> 29:21.000
Music