WEBVTT 00:00.000 --> 00:10.960 Auto Light and its 98,000 dealers bring you Miss Agnes Moorhead. 00:10.960 --> 00:19.520 In tonight's presentation of Suspense. 00:19.520 --> 00:24.440 Tonight Auto Light presents the exciting new radio play by the originator of Suspense, 00:24.440 --> 00:25.440 Mr. William Spear. 00:25.440 --> 00:31.960 The story is called Death and Miss Turner, our star, the first lady of Suspense, Miss 00:31.960 --> 00:32.960 Agnes Moorhead. 00:32.960 --> 00:33.960 Hey, Harlow. 00:33.960 --> 00:34.960 Howdy, Sheriff. 00:34.960 --> 00:35.960 Arrest anyone lately? 00:35.960 --> 00:46.200 No, but I want to check up on you because I heard you've been boasting you've got a system 00:46.200 --> 00:47.200 that can't lose. 00:47.200 --> 00:49.720 Why, Sheriff, of course my system can't lose. 00:49.720 --> 00:53.920 It's the best there is, the Auto Light electrical system on my Auto Light equipped car. 00:53.920 --> 00:58.440 My every unit and component part is related by Auto Light engineering design and manufacturing 00:58.440 --> 01:02.120 skill to give the smoothest performance money can buy. 01:02.120 --> 01:03.440 What system is that, Harlow? 01:03.440 --> 01:07.280 The electrical system, Sheriff, including the Auto Light starting motor, distributor, 01:07.280 --> 01:12.440 coil, generator, battery, spark plugs, and all the other parts of the complete Auto Light 01:12.440 --> 01:17.480 electrical system installed as original equipment on many leading makes of our finest cars, 01:17.480 --> 01:18.480 trucks, and tractors. 01:18.480 --> 01:22.080 You mean you're always right with the Auto Light electrical system? 01:22.080 --> 01:23.080 You sure are, Sheriff. 01:23.080 --> 01:27.360 That's why it pays to insist on Auto Light original factory parts for your Auto Light 01:27.360 --> 01:28.640 equipped car. 01:28.640 --> 01:33.720 And remember, from bumper to tail light, you're always right with Auto Light. 01:33.720 --> 01:39.320 And now, Auto Light presents transcribed, Diff and Miss Turner, starring Miss Agnes 01:39.320 --> 01:52.160 Moorhead, hoping once again to keep you in suspense. 01:52.160 --> 01:54.040 We went out for a walk this morning. 01:54.040 --> 01:56.560 I was dead and I went out for a walk. 01:56.560 --> 01:57.560 Miss Briggs went with me. 01:57.560 --> 01:58.560 It was her idea. 01:58.560 --> 01:59.560 I wouldn't have particularly thought of it. 01:59.560 --> 02:02.560 She brought the new picture in this morning. 02:02.560 --> 02:05.600 She took my chair and stood on it and took off one shoe and hammered the nail in the 02:05.600 --> 02:06.880 wall and hung the picture up. 02:06.880 --> 02:10.320 She asked me if it was hanging straight and I said, I thought so. 02:10.320 --> 02:14.280 And she said, well, and she took off her glasses and gave me a little inquiring expression. 02:14.280 --> 02:16.800 She always does that after she's done something for me. 02:16.800 --> 02:17.800 She wants my approval. 02:17.800 --> 02:22.760 So I looked at the picture hanging there and I smiled and I said, it's lovely. 02:22.760 --> 02:23.760 Plain black frame. 02:23.760 --> 02:24.760 Yes, you're right. 02:24.760 --> 02:26.680 That's just the right frame for it. 02:26.680 --> 02:28.320 I beg your pardon? 02:28.320 --> 02:29.320 The frame. 02:29.320 --> 02:30.320 I said it's good. 02:30.320 --> 02:31.320 The frame? 02:31.320 --> 02:32.320 Yes. 02:32.320 --> 02:33.320 Yes. 02:33.320 --> 02:37.520 There are some other pictures downstairs we could have framed if you like. 02:37.520 --> 02:38.840 That would be a lot of trouble, wouldn't it? 02:38.840 --> 02:39.840 Not a bit. 02:39.840 --> 02:42.800 I think I could, I could sleep some more. 02:42.800 --> 02:44.640 There's a headache just hovering over me. 02:44.640 --> 02:46.840 I don't want to wait until it gets me. 02:46.840 --> 02:48.440 Of course, you'll finish your nap. 02:48.440 --> 02:51.560 You know what might be nice though later on? 02:51.560 --> 02:54.440 To get some air, go for a stroll in the park. 02:54.440 --> 03:00.120 Go out today and have lunch somewhere nice like 96 Piccadilly or Claridge's. 03:00.120 --> 03:01.120 How about it? 03:01.120 --> 03:02.600 I'll ring up and reserve a table. 03:02.600 --> 03:03.600 Cool. 03:03.600 --> 03:06.800 Maybe I can borrow that red coat that's hanging up in there. 03:06.800 --> 03:07.800 Yes. 03:07.800 --> 03:15.480 That's fine, Rachel. 03:15.480 --> 03:21.440 I was dead, long, long dead, and I went out for a walk. 03:21.440 --> 03:22.440 My name is Rachel. 03:22.440 --> 03:33.640 Yes, there can't be any doubt about that now. 03:33.640 --> 03:38.800 And then the American meets the Englishman and says, well, how are things here, old boy? 03:38.800 --> 03:41.240 And the Englishman says, better than next year. 03:41.240 --> 03:47.120 I know, it's pulling a long face, like my dad always says, if I could get a steak, I couldn't 03:47.120 --> 03:48.120 afford it anyway. 03:48.120 --> 03:49.120 Are you getting tired, dear, sir? 03:49.120 --> 03:50.120 You've seen enough of London for today? 03:50.120 --> 03:57.760 Oh, no, no, I'm enjoying this so very much, as long as we don't walk too fast. 03:57.760 --> 03:58.760 We're not, are we? 03:58.760 --> 03:59.760 Oh, no, it's lovely. 03:59.760 --> 04:04.640 How long have you been in London, Rachel? 04:04.640 --> 04:07.240 You know I can't tell you that, Miss Briggs. 04:07.240 --> 04:08.240 Yes, of course. 04:08.240 --> 04:14.200 You're just hoping that I just might let something sort of slip accidentally, aren't you, Miss 04:14.200 --> 04:15.200 Briggs? 04:15.200 --> 04:16.200 Yes, I guess so. 04:16.200 --> 04:18.200 It would be nice, wouldn't it? 04:18.200 --> 04:20.760 No, no, it wouldn't. 04:20.760 --> 04:22.480 Don't count on it, Miss Briggs. 04:22.480 --> 04:24.080 It's not going to happen. 04:24.080 --> 04:25.080 I can't risk it. 04:25.080 --> 04:29.680 Look, there's a fine shop where I got our new picture done this morning. 04:29.680 --> 04:31.680 The black frame you like so much. 04:31.680 --> 04:33.680 He's framing some more for us. 04:33.680 --> 04:36.680 Let's just go in and see how he's coming along. 04:36.680 --> 04:37.680 Is this the new shop? 04:37.680 --> 04:38.680 Yes, it is. 04:38.680 --> 04:39.680 Hello there, anybody in? 04:39.680 --> 04:40.680 Who's that? 04:40.680 --> 04:41.680 Oh, Miss Briggs, isn't it? 04:41.680 --> 04:42.680 How are we today? 04:42.680 --> 04:43.680 Fine, thank you, Mr. Putney. 04:43.680 --> 04:51.320 My friend here and I thought we'd just look in and see how a little job of work is going. 04:51.320 --> 04:52.320 I see, I see. 04:52.320 --> 04:56.800 Yes, yes, that was the four oils by, who was it? 04:56.800 --> 04:59.800 Ah, Turner, that's it, Turner. 04:59.800 --> 05:00.800 Let's see. 05:00.800 --> 05:04.880 Ah, no, no, I'm afraid we haven't got them yet. 05:04.880 --> 05:06.880 There they are hanging up there on the line. 05:06.880 --> 05:09.360 They're awfully good, aren't they, Miss Briggs? 05:09.360 --> 05:10.360 Who did you say... 05:10.360 --> 05:11.360 I've been here before. 05:11.360 --> 05:12.360 Make a pardon? 05:12.360 --> 05:13.360 It was the same. 05:13.360 --> 05:14.360 Oh, I'm afraid not. 05:14.360 --> 05:15.360 You see... 05:15.360 --> 05:16.360 What do you mean? 05:16.360 --> 05:17.360 I tell you... 05:17.360 --> 05:20.960 Well, I only just opened my shop four days ago. 05:20.960 --> 05:25.080 Well, I'm not talking about your shop necessarily, Mr. Putney, but these. 05:25.080 --> 05:26.920 Oh, these paintings. 05:26.920 --> 05:27.920 I don't know. 05:27.920 --> 05:30.120 Miss Briggs brought them in by Turner. 05:30.120 --> 05:31.120 Turner? 05:31.120 --> 05:32.120 That's preposterous. 05:32.120 --> 05:33.120 JM Turner? 05:33.120 --> 05:34.800 Why, these have nothing to do with him. 05:34.800 --> 05:38.680 In the first place, he was watercolor, in the second place, landscape, and in the third... 05:38.680 --> 05:41.000 Not, not JM Turner. 05:41.000 --> 05:42.000 Another Turner. 05:42.000 --> 05:43.000 The sign. 05:43.000 --> 05:44.000 Ah, Turner. 05:44.000 --> 05:45.000 Oh. 05:45.000 --> 05:50.120 Interesting painter, this one, don't you think? 05:50.120 --> 05:53.560 Not exactly macabre, but something shivery about it. 05:53.560 --> 05:55.040 All four of them seem to have a... 05:55.040 --> 05:58.440 Well, I guess you'd call it an ominous overtone. 05:58.440 --> 05:59.680 Really? 05:59.680 --> 06:01.800 I don't feel that particularly. 06:01.800 --> 06:06.680 Wouldn't you call it a little nightmarey when a painter goes to this much trouble? 06:06.680 --> 06:12.000 All this detail, painting a man, his hands, his suit, the handkerchief in his pocket, 06:12.000 --> 06:16.480 the carnation in his buttonhole, and then leaves out his face. 06:16.480 --> 06:19.320 In all four paintings, no face. 06:19.320 --> 06:22.320 I see a face. 06:22.320 --> 06:23.320 Yes. 06:23.320 --> 06:25.320 Of course. 06:25.320 --> 06:31.640 Well, not complete, not to fill in features, but the qualities of this man's face are 06:31.640 --> 06:34.720 all there for me, even though they're not there for you. 06:34.720 --> 06:36.960 I should know this man if I met him. 06:36.960 --> 06:37.960 We must be going. 06:37.960 --> 06:38.960 He's dead, I think. 06:38.960 --> 06:39.960 We rode back in a taxi, Miss Briggs and I. 06:39.960 --> 06:53.680 She had a bundle which Mr. Putney said she'd ordered or something. 06:53.680 --> 06:55.480 I wasn't listening to them. 06:55.480 --> 06:59.040 Every time I opened my mouth to say something, I gave them an advantage. 06:59.040 --> 07:02.360 Every time I went out for a walk with one of them, like today, I showed things in my 07:02.360 --> 07:05.360 expression that told them what they wanted to know. 07:05.360 --> 07:09.680 I'd fallen into the trap when Miss Briggs had suggested that walk this morning. 07:09.680 --> 07:10.680 I'd been weak. 07:10.680 --> 07:14.120 I should never have gone. 07:14.120 --> 07:18.280 I want to be dead, and I won't be brought back from it. 07:18.280 --> 07:22.480 Oh, how did that fit you? 07:22.480 --> 07:23.480 Yes. 07:23.480 --> 07:25.480 What have you got there? 07:25.480 --> 07:26.480 This? 07:26.480 --> 07:28.480 Some stuff I ordered the other day for Mr. Putney. 07:28.480 --> 07:30.640 Oh, what is it? 07:30.640 --> 07:31.640 You laugh. 07:31.640 --> 07:32.640 No, no. 07:32.640 --> 07:36.680 Well, I know it's foolish, but as my dad says, think hard. 07:36.680 --> 07:37.680 Never do a royal flush. 07:37.680 --> 07:39.400 I must say, I don't know what that means. 07:39.400 --> 07:41.400 Quite a knock-card player. 07:41.400 --> 07:46.680 Anyway, it's something I've always wanted to have a private dabble at. 07:46.680 --> 07:48.920 They say it relaxes the nerves. 07:48.920 --> 07:50.080 And who knows? 07:50.080 --> 07:52.360 I'm younger than Grandma Moses. 07:52.360 --> 07:53.360 Paints. 07:53.360 --> 07:55.520 You bought a box of paints. 07:55.520 --> 07:56.520 And brushes. 07:56.520 --> 07:59.560 This one, if you please, costs two guineas. 07:59.560 --> 08:03.040 It's for the fine detail work, he says. 08:03.040 --> 08:04.040 Sable. 08:04.040 --> 08:05.040 Huh? 08:05.040 --> 08:06.040 It's a sable brush. 08:06.040 --> 08:10.760 And these things, you mix your colors on them. 08:10.760 --> 08:11.760 Colors. 08:11.760 --> 08:16.320 And then there's, whatever, this is fixative. 08:16.320 --> 08:21.320 And well, anyway, I've gone and got a perfect smasher of a real professional kit. 08:21.320 --> 08:24.280 Now, someone will teach me to draw a straight line. 08:24.280 --> 08:29.240 You didn't buy this box of paints for yourself, did you, Miss Blake? 08:29.240 --> 08:30.440 Well, whatever. 08:30.440 --> 08:33.440 You bought them for me. 08:33.440 --> 08:35.760 That was it, wasn't it? 08:35.760 --> 08:37.960 I was a painter. 08:37.960 --> 08:40.640 That's what you're waiting for me to find out. 08:40.640 --> 08:48.200 R. Turner, the painter who does portraits of a man without a face. 08:48.200 --> 08:49.200 It's Rachel Turner. 08:49.200 --> 08:50.200 Is that it? 08:50.200 --> 08:51.200 I don't remember it, but is that it? 08:51.200 --> 08:54.720 Am I Rachel Turner? 08:54.720 --> 08:55.720 I've... 08:55.720 --> 08:56.720 Wait here. 08:56.720 --> 09:08.080 I'm going to get Dr. Greig. 09:08.080 --> 09:10.700 I looked at the door a moment after she'd gone. 09:10.700 --> 09:14.440 Then a square of white became the only thing in the room. 09:14.440 --> 09:16.660 I picked up a canvas board. 09:16.660 --> 09:19.080 I drew a chair forward and popped the canvas against it. 09:19.080 --> 09:21.120 I was doing my best not to sink. 09:21.120 --> 09:25.720 Not to govern my actions, simply to allow whatever might happen. 09:25.720 --> 09:29.360 My hand was tearing away the cellophane wrapper from the charcoal. 09:29.360 --> 09:33.800 I leaned over the square of white prop there on the chair, and like plunging a dagger into 09:33.800 --> 09:39.080 a white body, I invaded the whiteness of the canvas with a bold and perfectly symmetrical 09:39.080 --> 09:44.080 oval in black, done with one stroke. 09:44.080 --> 09:45.080 Charcoal fell from my hand. 09:45.080 --> 09:50.560 Now the oil was spreading onto the palette, save a brush stabbing into the colors, blending 09:50.560 --> 09:53.560 them to make a perfect flesh tone. 09:53.560 --> 09:54.560 Why? 09:54.560 --> 09:55.560 For what sake? 09:55.560 --> 10:07.400 For the roaring in my ears like the sound of a train rushing through the night. 10:07.400 --> 10:11.440 Rachel? 10:11.440 --> 10:14.160 Well, we meet at last. 10:14.160 --> 10:18.280 That is to say we meet as people meet in a drawing room, a cocktail party perhaps, where 10:18.280 --> 10:21.400 the hostess hasn't had the time to introduce us all around. 10:21.400 --> 10:24.280 We find each other elbow to elbow at the punch bowl. 10:24.280 --> 10:30.320 At this moment, you who smile to me as I hand you your glass, and I say, my name is Grice. 10:30.320 --> 10:32.640 I'm Rachel Turner. 10:32.640 --> 10:33.640 I'm a painter. 10:33.640 --> 10:34.640 Oh? 10:34.640 --> 10:37.640 The subject on which I'm dreadfully ill-informed. 10:37.640 --> 10:39.000 I'm a psychologist myself. 10:39.000 --> 10:42.800 Sir Bartley Grice, of Her Majesty's College of Medicine. 10:42.800 --> 10:43.800 Evans? 10:43.800 --> 10:46.200 Not only a painter, but a positive encyclopedist. 10:46.200 --> 10:48.240 How could you know that? 10:48.240 --> 10:49.240 Have we met before? 10:49.240 --> 10:51.320 We've not met at all this way. 10:51.320 --> 10:57.080 We don't meet, you and I, Sir Bartley, until some months in this year, 1952, when you were 10:57.080 --> 10:58.080 my doctor. 10:58.080 --> 11:01.640 And I am a patient who has lost her memory. 11:01.640 --> 11:05.160 How much do you know now, Miss Turner? 11:05.160 --> 11:07.720 You're going to be sorry. 11:07.720 --> 11:13.000 More than that, you'll be the object all the murderous hatred my tortured soul is capable 11:13.000 --> 11:15.880 of if you persist in bringing me back. 11:15.880 --> 11:17.240 I shall risk that. 11:17.240 --> 11:18.240 Many people hate me. 11:18.240 --> 11:21.680 I save many others from being hated. 11:21.680 --> 11:25.520 You were, you painted this just now in those fifteen minutes while Miss Briggs and I were 11:25.520 --> 11:26.520 talking? 11:26.520 --> 11:27.520 Yes. 11:27.520 --> 11:28.520 It's remarkable. 11:28.520 --> 11:29.520 It's amazing to me. 11:29.520 --> 11:30.520 It's wonderful. 11:30.520 --> 11:33.760 This man's face, why him? 11:33.760 --> 11:36.880 I mean, for what reason this particular countenance? 11:36.880 --> 11:39.840 Is he real from life? 11:39.840 --> 11:40.840 Yes. 11:40.840 --> 11:42.840 What's his name then? 11:42.840 --> 11:44.840 Who is he? 11:44.840 --> 11:46.840 I don't know. 11:46.840 --> 11:50.120 I, I saw him only once. 11:50.120 --> 11:55.480 Well then, why do you feel compelled to bring back this face to show to yourself again now? 11:55.480 --> 11:56.480 Why? 11:56.480 --> 12:20.920 It's the face of the man I murdered. 12:20.920 --> 12:25.520 Auto Light is bringing you Miss Agnes Moorhead in Death and Miss Turner. 12:25.520 --> 12:33.120 Tonight's presentation in radio's outstanding theater of thrills, suspense. 12:33.120 --> 12:44.320 Say, Harlow, does my car have an auto light electrical system? 12:44.320 --> 12:45.520 It sure does, Sheriff. 12:45.520 --> 12:49.960 For yours is one of the many leading makes of our finest cars, trucks, and tractors equipped 12:49.960 --> 12:51.600 with an auto light electrical system. 12:51.600 --> 12:56.560 And auto light is the world's largest independent manufacturer of automotive electrical equipment. 12:56.560 --> 12:59.080 What kind of chores does this system do, Harlow? 12:59.080 --> 13:02.760 Well Sheriff, it goes to work at the flick of the ignition switch and performs every 13:02.760 --> 13:04.720 second your engine runs. 13:04.720 --> 13:08.680 It works too every time you turn on your radio, sound your horn, use your electric windshield 13:08.680 --> 13:09.680 wiper or heater. 13:09.680 --> 13:15.120 That's why it will pay you to treat the electrical system of your car to a periodic checkup at 13:15.120 --> 13:18.960 your car dealers or authorized auto light service station. 13:18.960 --> 13:23.040 You can find the location of your nearest authorized auto light service station in the 13:23.040 --> 13:28.440 classified section of the telephone directory under automobile electrical service. 13:28.440 --> 13:32.720 Or call Western Union by number and ask for operator 25. 13:32.720 --> 13:38.200 And remember, from bumper to tail light, you're always right with auto light. 13:38.200 --> 13:43.760 And now, auto light brings back to our Hollywood sound stage Miss Agnes Moorhead in Elliot 13:43.760 --> 13:57.640 Lewis's production of Death and Miss Turner, a tale well calculated to keep you in suspense. 13:57.640 --> 14:02.000 You murdered this man whose face you've painted here? 14:02.000 --> 14:04.560 Yes, yes I... 14:04.560 --> 14:07.480 How did you murder him? 14:07.480 --> 14:08.480 I don't know. 14:08.480 --> 14:11.440 You have no recall of having actually done it. 14:11.440 --> 14:14.680 Were you unable to tell yourself where it happened or when? 14:14.680 --> 14:20.360 No, no I only, I'm sure that I killed him. 14:20.360 --> 14:24.480 Miss Turner, we're going to give you something to make you sleep. 14:24.480 --> 14:27.080 Now if you'll just roll up your sleeve Miss Briggs please. 14:27.080 --> 14:30.480 Please, just a minute dear. 14:30.480 --> 14:33.840 Yes, for a period of time now. 14:33.840 --> 14:35.200 We shall need to help you sleep. 14:35.200 --> 14:36.880 I hope it'll be a brief one. 14:36.880 --> 14:40.080 You've wanted to sleep a great deal of recent months, haven't you? 14:40.080 --> 14:43.360 Yes, because you were afraid of reality, of your thoughts while awake. 14:43.360 --> 14:47.560 Well, you were always dozing off, taking a nap, staying in bed till half the day was 14:47.560 --> 14:48.560 gone. 14:48.560 --> 14:49.560 Now... 14:49.560 --> 14:51.560 Now I know I'm a murderer. 14:51.560 --> 14:56.960 So I've earned the right to be drugged into forgetting it for a few hours. 14:56.960 --> 14:58.360 I was already dead. 14:58.360 --> 14:59.360 I'd forgotten. 14:59.360 --> 15:00.360 Why couldn't I have been allowed to die? 15:00.360 --> 15:03.360 Why not have hung before while it didn't matter? 15:03.360 --> 15:04.360 But for what? 15:04.360 --> 15:10.000 Well for a murder you can't describe, of a man whose death in circumstances pointing to 15:10.000 --> 15:11.760 violence we have no record. 15:11.760 --> 15:15.080 Why no one on earth has come forward to accuse you of any crime. 15:15.080 --> 15:16.080 How did you find me? 15:16.080 --> 15:17.080 What was I doing? 15:17.080 --> 15:20.080 Where was I when you found me? 15:20.080 --> 15:22.680 You must remember what happened yourself. 15:22.680 --> 15:25.600 Live through that horror again. 15:25.600 --> 15:27.640 Only then will you know what is true. 15:27.640 --> 15:32.120 In the meantime I shall help you in every way I can. 15:32.120 --> 15:33.120 Hate me if you like. 15:33.120 --> 15:34.120 It's better than hating yourself. 15:34.120 --> 15:43.280 Good night, Miss Turner. 15:43.280 --> 15:44.280 So many years to remember. 15:44.280 --> 15:47.280 A life brought back to be my own. 15:47.280 --> 15:51.320 The figures and landscapes and people which belonged to me when nothing had been mine 15:51.320 --> 15:52.320 the day before. 15:52.320 --> 15:58.000 It was all there up until my birthday. 15:58.000 --> 16:01.080 What happened on the 16th of April? 16:01.080 --> 16:05.960 I remember the night before, it was the last thing I remembered until the waking here in 16:05.960 --> 16:09.520 the hospital on the first day of May. 16:09.520 --> 16:16.000 I was standing in the lobby of the hotel just having got off that rickety elevator and my 16:16.000 --> 16:17.000 bag was packed. 16:17.000 --> 16:22.280 It was there at my feet and the porter came around from behind his booth and handed me 16:22.280 --> 16:23.280 an envelope. 16:23.280 --> 16:24.280 After that nothing. 16:24.280 --> 16:31.280 Black. 16:31.280 --> 16:35.480 White. 16:35.480 --> 16:36.480 Piano. 16:36.480 --> 16:37.480 Tune. 16:37.480 --> 16:38.480 Train. 16:38.480 --> 16:39.480 Teach. 16:39.480 --> 16:40.480 Barista. 16:40.480 --> 16:41.480 Lawyer. 16:41.480 --> 16:42.480 Pallet. 16:42.480 --> 16:43.480 Paint. 16:43.480 --> 16:44.480 Porter. 16:44.480 --> 16:45.480 Ticket. 16:45.480 --> 16:46.480 Train. 16:46.480 --> 16:47.480 Snow white. 16:47.480 --> 16:48.480 I beg your pardon. 16:48.480 --> 16:49.480 I beg your pardon. 16:49.480 --> 16:50.480 I beg your pardon. 16:50.480 --> 16:51.480 I beg your pardon. 16:51.480 --> 16:52.480 I beg your pardon. 16:52.480 --> 16:53.480 I beg your pardon. 16:53.480 --> 16:54.480 I beg your pardon. 16:54.480 --> 16:55.480 Snow white. 16:55.480 --> 16:57.480 She has that long train at the boys' cabin. 16:57.480 --> 16:59.480 Oh yes, yes, quite right. 16:59.480 --> 17:00.480 Blood. 17:00.480 --> 17:01.480 Bread. 17:01.480 --> 17:02.480 Train. 17:02.480 --> 17:03.480 A thought. 17:03.480 --> 17:09.960 Miss Turner, have you noticed anything about your response to this word? 17:09.960 --> 17:10.960 Which word? 17:10.960 --> 17:11.960 The word train. 17:11.960 --> 17:12.960 Oh. 17:12.960 --> 17:16.080 I've put it to you three times and each time you for some reason avoided connoting what 17:16.080 --> 17:18.600 one should expect to be the most commonplace definition. 17:18.600 --> 17:23.760 You haven't answered with smoke or wheels or what a station or underground. 17:23.760 --> 17:28.720 Have you any idea why you should be unwilling to recognize the word train as a high-speed 17:28.720 --> 17:31.160 conveyance traveling on wheels on rails? 17:31.160 --> 17:34.600 I don't have any idea. 17:34.600 --> 17:35.600 Book. 17:35.600 --> 17:36.600 Dealer. 17:36.600 --> 17:37.600 Yorkshire. 17:37.600 --> 17:38.600 Train. 17:38.600 --> 17:39.600 Train. 17:39.600 --> 17:40.600 Wreck. 17:40.600 --> 17:41.600 Thank you, Miss Turner. 17:41.600 --> 17:48.960 I think that will do us for the day. 17:48.960 --> 17:53.520 Miss Briggs took me back to my room. 17:53.520 --> 17:54.520 I was in a fever. 17:54.520 --> 17:55.520 I could hardly walk straight. 17:55.520 --> 17:58.520 She kept dabbing at my forehead with her handkerchief, but it didn't do any good. 17:58.520 --> 18:03.600 I could see her lips moving, probably asking me if I was all right and could she help me, 18:03.600 --> 18:05.600 but I couldn't hear her. 18:05.600 --> 18:10.000 There was another horrifying, terrible sound filling my ears. 18:10.000 --> 18:13.760 I held my hands over them, trying to shut it out, but it only grew louder. 18:13.760 --> 18:16.120 In my room, Miss Briggs tried to push me toward the bed. 18:16.120 --> 18:19.800 I could see her lips screaming, you must lie down, but I pressed her out of the way and 18:19.800 --> 18:21.320 lunged for the canvas board. 18:21.320 --> 18:25.720 My hands and arms were numb as though they were floating out of my control, except that 18:25.720 --> 18:26.720 they ached agonizingly. 18:26.720 --> 18:31.720 There were flashes before my eyes, pounding waves that threw my head back and forth as 18:31.720 --> 18:34.720 though I were being battered in some apocalyptic storm. 18:34.720 --> 18:41.720 Came a sightful shrieking, torn from the throat of a damned stolen torment, and I fell forward 18:41.720 --> 18:44.720 on the ground and something fell with me. 18:44.720 --> 18:58.720 And I saw the picture I'd painted, and the voice that was shrieking was my own. 18:58.720 --> 18:59.720 I can't, I can't. 18:59.720 --> 19:00.720 Lie down. 19:00.720 --> 19:01.720 Yes, lie down. 19:01.720 --> 19:02.720 Lie down. 19:02.720 --> 19:05.720 This is it, isn't it? 19:05.720 --> 19:06.720 Oh, yes. 19:06.720 --> 19:09.720 All right, roll up that sleeve. 19:09.720 --> 19:11.720 Yes, now Rachel. 19:11.720 --> 19:13.720 Who did that picture? 19:13.720 --> 19:14.720 Delirious, like a mad woman. 19:14.720 --> 19:15.720 Yes, yes, yes, quiet. 19:15.720 --> 19:16.720 Now Miss Turner. 19:16.720 --> 19:17.720 Are you kidding me? 19:17.720 --> 19:18.720 You're like me, Miss Diamond. 19:18.720 --> 19:19.720 You sting me. 19:19.720 --> 19:20.720 No, the mixture's a little bit different this time, Miss Turner, but it will stop hurting 19:20.720 --> 19:21.720 in just a moment. 19:21.720 --> 19:32.720 There, all ready. 19:32.720 --> 19:42.720 Oh, yes, it won't be long. 19:42.720 --> 19:44.720 This picture you've just done. 19:44.720 --> 19:45.720 Is it good? 19:45.720 --> 19:47.600 I think it's extraordinarily good. 19:47.600 --> 19:49.720 Are you sleeping? 19:49.720 --> 19:52.720 Sleeping, but awake. 19:52.720 --> 19:56.720 Asleep, but not asleep. 19:56.720 --> 20:01.720 Can you describe this picture to me as though I hadn't seen it? 20:01.720 --> 20:11.720 A man sitting in a railway compartment looking out of the window of a train, opposite him 20:11.720 --> 20:14.720 with her back to us is a woman. 20:14.720 --> 20:19.720 It's as though we were the woman whose attention is on this man. 20:19.720 --> 20:21.720 As though we were this woman? 20:21.720 --> 20:22.720 Yes. 20:22.720 --> 20:27.720 Don't you mean that you are this woman, Miss Turner? 20:27.720 --> 20:30.720 Yes, yes, I am. 20:30.720 --> 20:33.720 What day is it now? 20:33.720 --> 20:34.720 My birthday. 20:34.720 --> 20:36.720 April 16th, past April. 20:36.720 --> 20:40.720 Yes, yes, as David said today. 20:40.720 --> 20:45.720 I'm aboard the Flying Scotsman Express. 20:45.720 --> 20:50.720 I'm on my way to Edinburgh to paint the moors. 20:50.720 --> 20:53.720 I'm in the first class compartment. 20:53.720 --> 20:56.720 Alone, I'm relaxed and happy. 20:56.720 --> 21:01.720 I feel the urge to paint something right here as the train goes speeding along. 21:01.720 --> 21:04.720 And what do you paint? 21:04.720 --> 21:11.720 A man, that is the embodiment of a man, his posture, his clothes. 21:11.720 --> 21:16.720 But for some reason, I can't paint his face. 21:16.720 --> 21:22.720 I know his face, but I find it impossible to transfer it to the canvas. 21:22.720 --> 21:28.720 I make four separate versions of him, but each time my brush remains poisonly there, 21:28.720 --> 21:39.720 refusing to invade the oval of white where the face should be. 21:39.720 --> 21:47.720 At Manchester, I get out to stretch my legs, walking up and down the station platform. 21:47.720 --> 21:54.720 And when I resume my compartment, I find that I have a fellow traveler sharing it with me. 21:54.720 --> 21:56.720 He's turned away as I enter. 21:56.720 --> 22:00.720 He's occupied with closing the window as it has begun to rain outside. 22:00.720 --> 22:06.720 As I seat myself opposite him, he turns to face me directly. 22:06.720 --> 22:08.720 He's a man. 22:08.720 --> 22:17.720 It's his face which is missing from the portraits that lie on the chair beside me. 22:17.720 --> 22:19.720 How do you do? 22:19.720 --> 22:21.720 How do you do? 22:21.720 --> 22:22.720 I, I... 22:22.720 --> 22:25.720 How do you do? 22:25.720 --> 22:29.720 Pardon. Do you feel not well? 22:29.720 --> 22:35.720 Forgive me for staring at you. I didn't... I mean looking at you in this way. 22:35.720 --> 22:37.720 It is all right. Fine. 22:37.720 --> 22:40.720 I'm a painter, you see. 22:40.720 --> 22:44.720 A painter? Yes, good. Can I see? 22:44.720 --> 22:50.720 Well, this is the impossible part. Here, you see these pictures? 22:50.720 --> 22:56.720 Hmm? Ah, yes. Very interesting. 22:56.720 --> 23:01.720 I mean, not to know who it is, his face. 23:01.720 --> 23:07.720 Oh, but I do know. I didn't feel I could do the face before, but now I can. 23:07.720 --> 23:11.720 Oh, sure. Why? 23:11.720 --> 23:14.720 Because it's your face. 23:14.720 --> 23:16.720 My face? 23:16.720 --> 23:20.720 What for, my face? 23:20.720 --> 23:23.720 Yes, yes I know it's clear, but... 23:23.720 --> 23:26.720 I mean, you are going to put my face in there? 23:26.720 --> 23:28.720 Yes. 23:28.720 --> 23:34.720 Well, all right. All right. Go ahead. 23:34.720 --> 23:36.720 You mean, now? 23:36.720 --> 23:38.720 Sure. 23:38.720 --> 23:44.720 What do I do? I mean, am I all right to sit here like this? 23:44.720 --> 23:51.720 Yes, yes. Just that way, please. If you tilt your head just a little more. 23:51.720 --> 23:54.720 This is all right? Yes. 23:54.720 --> 23:58.720 You're in the shadow, though. If there was only a little more light. 23:58.720 --> 24:02.720 Good arc. I have it. Would it be too much trouble if we changed places? 24:02.720 --> 24:05.720 There's good light here where I'm sitting. 24:05.720 --> 24:08.720 Pardon? If we change places, I'll sit over there and you... 24:08.720 --> 24:15.720 Oh, uh, change places. Sure. 24:15.720 --> 24:21.720 I sit down where he is in, and he places himself exactly where I've been sitting a moment before. 24:21.720 --> 24:25.720 For a moment he looks at me, smiling. 24:25.720 --> 24:30.720 And then, it's happening. There was a grinding, cracking sound. 24:30.720 --> 24:34.720 Most of the steam of the door is still smiling to pie. 24:34.720 --> 24:39.720 And then an inferno of splintering wooden glass and rending steel came screaming at him. 24:39.720 --> 24:44.720 And the car sent into his place and got him blanking his head. 24:44.720 --> 24:48.720 I killed him. He stayed in places with me. 24:48.720 --> 24:52.720 It was I who was meant to die. It was my life. My life. 24:52.720 --> 24:56.720 I killed him. I killed him. 24:56.720 --> 24:58.720 He killed my dad. 24:58.720 --> 25:05.720 I killed him. I killed him. 25:05.720 --> 25:07.720 I... 25:07.720 --> 25:13.720 I... 25:13.720 --> 25:18.720 No. You didn't kill him. You know that now. 25:18.720 --> 25:31.720 You remember. You come back from the edge of reason. 25:31.720 --> 25:37.720 I'm going home. Sailing at midnight. It'll be midwinter. 25:37.720 --> 25:40.720 The snow on that Connecticut bridge. 25:40.720 --> 25:44.720 Those leafless elves in their rolling, purple shadows. 25:44.720 --> 25:48.720 They gave me a farewell tea this afternoon and I even had a cocktail. 25:48.720 --> 25:51.720 The hostess was much too busy to introduce us all around, 25:51.720 --> 25:55.720 but a very nice gentleman came up to me and introduced himself. 25:55.720 --> 25:58.720 My name is Grice. I'm a psychologist. 25:58.720 --> 26:03.720 I am Rachel Turner. I'm a painter. 26:03.720 --> 26:24.720 Music 26:24.720 --> 26:30.720 Suspense. Presented by Auto Light. Tonight's star, Miss Agnes Moorhead. 26:30.720 --> 26:33.720 This is Harlow Wilcox speaking for Auto Light, 26:33.720 --> 26:37.720 world's largest independent manufacturer of automotive electrical equipment. 26:37.720 --> 26:41.720 Auto Light is proud to serve the greatest names in the industry. 26:41.720 --> 26:44.720 They are members of the Auto Light family, 26:44.720 --> 26:48.720 as well as are the 98,000 Auto Light distributors and dealers in the United States 26:48.720 --> 26:52.720 and thousands more in Canada and throughout the world. 26:52.720 --> 26:58.720 Our family also includes the nearly 30,000 men and women in 28 great Auto Light plants from coast to coast 26:58.720 --> 27:01.720 and Auto Light plants in many foreign countries, 27:01.720 --> 27:06.720 as well as the 18,000 people who have invested a portion of their savings in Auto Light. 27:06.720 --> 27:10.720 Every Auto Light product is backed by constant research 27:10.720 --> 27:15.720 and precision built to the highest standards of quality and performance. 27:15.720 --> 27:20.720 So remember, from bumper to tail light, you're always right with Auto Light. 27:20.720 --> 27:26.720 Music 27:26.720 --> 27:31.720 Next week, a story based on fact and taken from your morning newspaper. 27:31.720 --> 27:35.720 The exciting report of one man's efforts to prevent a national tragedy. 27:35.720 --> 27:41.720 The story is called, Man Alive. Our star will be Mr. Paul Douglas. 27:41.720 --> 27:50.720 That's next week on Suspense. 27:50.720 --> 27:53.720 Suspense is transcribed and directed by Elliot Lewis 27:53.720 --> 27:57.720 with music composed by Lucian Morawick and conducted by Ludd Luskin. 27:57.720 --> 28:01.720 Death and Miss Turner was written for Suspense by William Spear. 28:01.720 --> 28:04.720 In tonight's story, Jeanette Nolan was heard as Miss Briggs, 28:04.720 --> 28:08.720 Joseph Kearns as Dr. Grice, Paul Fries as the man on the train, 28:08.720 --> 28:11.720 and Charles Davis as the shopkeeper. 28:11.720 --> 28:20.720 Magnus Moorhead may currently be seen touring in Don Juan in Hell by George Bernard Shaw. 28:20.720 --> 28:27.720 You can buy Auto Light electrical parts, Auto Light staple batteries, 28:27.720 --> 28:31.720 and Auto Light resistor, all standard type spark plugs, at your neighborhood Auto Light dealers. 28:31.720 --> 28:34.720 Switch to Auto Light. Good night. 28:34.720 --> 28:48.720 Music 28:48.720 --> 28:51.720 This is the CBS Radio Network.