Auto Light and its 98,000 dealers bring you Mr. Frank Lovejoy.
In tonight's presentation of Suspense.
Tonight, Auto Light presents a tale about a man who felt he was bigger and more important than anything else in the world.
And lost his life trying to prove it.
The story is called The Storm. Our star Mr. Frank Lovejoy.
Well Harlow, March is here. And like a lion, you know.
And I know the lion, Hap. It's you're always right with Auto Light.
That's a good one, Harlow.
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Or call Western Union by number and ask for operator 25.
And remember, from bumper to tail light, you're always right with Auto Light.
And now, Auto Light presents Transcribe the Storm, starring Mr. Frank Lovejoy, hoping once again to keep you in suspense.
No one really knows how it begins.
The birth is invisible, attended only by sea birds that glide gracefully over the warm Caribbean sea.
In the cool upper air, a gull hovers, then dips low toward a single unwary shrimp.
Suddenly the bird falters, its wings beat awkwardly against a sudden turbulence at the edge of a great unseen tower of strange warm air.
Three hundred miles around, the cool outer wind circles, then sweeps in.
This is the meeting place.
Three hundred miles of wind circle a tower of weak warm air.
Conditions favorable.
And the thing is porn.
Sure, I know there was a storm coming. I could see it in Joyce's eyes.
The last year and a half she changed. Why?
Women, most of them down the wind, they're well off.
After all, we've been through getting to be the top dance team in the country. You'd think she'd try to relax and enjoy it.
We were big now, two thousand a week in a percentage.
Nothing but the best places booked when and where we liked.
We just finished in Miami. We were going to lie around for a month when the weather turned funny.
Nothing really noticeable, just something in the air.
That's when I got the phone call from Al Morgan.
Mr. Larry Weston.
This is him.
This is a long distance operator, sir. We have a call from Sea Beach. Go ahead, please.
Hello, Larry?
Yeah, who's this?
Al, Al Morgan.
Oh, sure, Al. Long time no see.
Yeah, how's Joyce?
Good, good. How's that new hotel of yours?
Ah, nice business, Larry. Yeah, we got a nice business for a new place.
Look, I know I should go through your agent on that.
No, no, no. Skip him. What's on your mind?
It's the tag end of the season here at Sea Beach, but we still got a good crowd.
Variety says you and Joyce got a month between dates and...
Well, look, Al, we're not exactly hired up for work.
Oh, I know, Larry. It's just that I'd like to keep this crowd.
You'd hold him here. You and Joyce a real sock finish on the season.
Just for a week, Larry. You know, for an old friend.
Well, we don't work for peanuts anymore, Al. Um, it'll have to be 3,000 and 20%.
Well, that's pretty steep, but I guess I can make it.
Okay, wire the deal to my agent. How's the weather there?
The weather? Oh, great. Best on the Gulf Coast.
Kind of funny here in Miami. Something in the air.
Well, that's Miami. When can you start? Today?
Yeah, yeah, I guess so. We'll drive down.
I sure appreciate this, Larry. Honest.
So long, Al. Just tell your crowd we're on the way.
Thanks. What?
I said thanks for including me in.
That's supposed to be some kind of a crack, Joyce.
There was a time when you used to at least ask me about a date.
Now I'm just part of the act.
Look, will you get off my back? Al Morgan's new place at Sea Beach. Al knew us when.
But you want to do a favor for an old friend?
Sure, I can do a favor for an old friend. And without jacking the price a thousand.
Cut it out, Willie. It's business. We're big business now.
That's why Al wants us, and that's why he'll pay us $3,000.
That's so hard to take. Sure, it's fine.
But we're all business now. Everything's happened so fast for us, we've lost being man and wife.
I like being man and wife, Larry. Not just a dance partner.
Look, it's the air in Miami. That's what's bothering you. Come on, let's pack.
Music
High over Miami, clouds gather and move. Far to the south, the great cone of wind spins strongly now.
Feeling adolescent strength, it starts moving across the sea.
It feels for direction and curves northward.
The ocean is patterned with great heaping swells racing before it.
On the Gulf Coast beaches, the tide still rises normally.
Then a wave, larger than usual, crashes unevenly across the sand.
Sea Beach looks like quite a layout. A lot of money, a lot of class.
Sure does. Oh, come on, snap out of it, will you?
Hey, there's Al's Hotel. Look at that sign. The westerns, big as you can make them.
Sure. We're big.
Look, don't start anything. We're here for a week and the weather is nice. Try to get along, will you?
Hi, Larry, Joyce. Hey, Al, some place you got.
All right, on the beach. Nothing but the best. How are you, Joyce? It's been a long time.
Hi, Al, it's really good to see you.
Come on. You got one of the best suites in the place. Hey, boy, get these bags into 215, will you?
Looks like a real nice place, Al. Strictly resort, Larry. Entertainment and the weather.
I got my entertainment and if the weather stays just right, I...
Hey, hey, that's some surf.
Yeah, yeah, it started yesterday. Paper says big storm down in the gulf somewhere. They think it's moving this way.
Scared off some of the guests, but when I got up that western sign, it stopped the checkouts cold.
So where's storm bait, huh?
Yeah, yeah, yeah, that's it. Ah, nothing to worry about, though. Not a cloud in the sky, is it?
If you bleed the papers, you could die from worry.
Mr. Morgan, Mr. Morgan, if you please.
Oh, oh, yeah, P. Day. What can I do for you?
It is the food, Monsieur. Toto, please, I am speaking.
Oh, Mr. and Mrs. Weston, Monsieur P. Day.
Hi.
The dancing westerns? Oh, an honor. I have never seen you perform, but everyone knows you are magnificent.
That's an awfully nice dog.
Merci, Madame. I am sorry Colette and Madame Pompadour are not with me at the moment. They will meet you later, I hope.
Something about the food, P. Day?
Oh, this special diet for my dogs, Monsieur. I am afraid I lose the cooperation of the kitchen again.
I'll take care of it.
Merci. Now, how well until this evening?
Viens, Toto. Viens.
Oh, he's cute.
You should see those dogs work. The four of them really put on a show.
A dog act?
Sure, they're good.
Oh, wait a minute, Al. That just doesn't go.
What do you mean, Al?
Well, I mean Al didn't tell me he was running a circus. That's all.
Look, Larry, P. Day's got a good actor. He wouldn't be here.
That's swell, but we don't work with dog acts.
Larry.
It's simple, Joyce. If Al can hold his crowd with a dog act, fine. He doesn't need us.
But he's got a contractor. What can I do?
Larry, you're not serious.
Can you get the boy to put the bags back in the car out? Come on, Joyce. Let's go.
No, no, wait, wait, wait. I've already got your name up out there.
Okay, Larry, I'll buy a few days' contract.
Fine, fine. Now you understand, don't you, Al? I mean...
Well, a dog act.
Yeah, yeah, sure. I understand.
Swell, swell. Then we'd better get ourselves on P. Day.
You go ahead.
Okay.
Look, Al, that was Larry talking, not me.
Yeah, I know, honey. He's changed, hasn't he?
Yeah. We're a big team now. I guess that's it. He's got to prove it all the time.
I don't know exactly what to do.
He's really a nice guy, Joyce. It'll wear off.
Thanks, Al. I hope you're right.
Over the Gulf Coast shore, the sun shines warm on the slow, continuous beat of the heavy storm surf.
The sky remains clear until late afternoon.
Then, a slight yellowish haze, the first land warning, creeps into the darkening blue.
The barometer is measured, and from Florida to Texas,
red and black hurricane flags unfold in an oddly soft breeze.
Precautionary. Nothing definite yet.
The sunset is brilliant red.
And later, there's a halo around the moon.
Thank you. Thank you very much.
Thank you very much, but that was our last encore, I'm afraid.
Regardless of what the newspapers and radios have been saying about the weather,
we'll be here tomorrow night with a very special performance.
Yeah, I could...
Sure. You're a little sloppy tonight, honey. You could stand some rehearsing.
Oh, swell you two. You were great. And look around, not an empty seat in the place.
Thank you.
Yeah, yeah, it was a good crowd. Only Joyce wasn't there.
Al, what's the real dope on this storm?
Well, who knows? The hurricane flags are up, but none of the natives around here are getting excited.
Few places boarded up, and nobody's leaving. Business as usual.
Hey, you know, it might be fun.
What?
Well, to see if we can hold a crowd here in a hurricane.
You're kidding.
Us against a hurricane. I bet we could.
It'd be a good act, Larry, but I hope you don't get the chance.
Oh, Mr. Weston, Mr. Weston.
Mr. Weston, I do hope you don't think I'm forward,
but I did so admire you and your wife out there on the floor.
I've seen a lot of dancing, but honestly...
Well, thank you.
I know you dance for a living, but could you...
Would you please show me that backstair?
Well, I have to ask my wife.
Oh, please, Miss Weston, I'll die happy.
Of course. Go right ahead.
Well, there isn't much for a girl to learn, really.
Quite so.
Um, have a drink, Joyce?
No, I don't think so, thanks.
I know he was kidding, but for a minute,
I thought Larry meant that about the hurricane.
Tell him, good boy, huh?
Low-racing clouds rush tirelessly by.
More rain, more gusts of wind.
The clouds grow heavier in the haze-filled sky.
Oh, come on, Joyce, come on. Pick it up.
All right, Larry, all right.
Now, stop it, stop it, stop it.
Look, it's 4 p.m. already.
At 8 o'clock, we have an appointment downstairs doing a show.
The rehearsal is for your benefit. What's the matter with you?
Oh, the fun's gone out of it, Larry.
Look, we've got to talk this out.
Here it comes again. Listen, Joyce.
I've got to say it, Larry. I've got to tell you what I feel.
It's about the dog act.
It's not the dog act. It's you. It's all you.
You say we, us, but you really mean you.
I used to feel close when we danced,
but you're such a big, important showstopper all by yourself.
There's no room for me anymore.
If you're all through, we'll continue with the rehearsal.
Please, Larry, listen to me.
I love you, but I don't know you anymore.
The way you push people around, nothing means anything to you.
Nothing's important except...
except that big sign, the Western.
Well, sure it's important.
The weather turns bad, people get scared,
Al puts that sign up, and they stay.
Now, can it, Joyce? Can it before I get to that?
You don't really need a wife anymore, do you, Larry?
All you need is someone to dance with.
That's what you really feel, isn't it?
All right, yes.
I took you, I can take anybody.
That dumb little blonde last night,
as soon as we got out on the floor, I knew...
Joyce, where do you think you're going?
I don't know, Larry. I just don't know.
Yeah.
Uh, Larry?
Yeah.
I just heard it on the radio.
They think the center of this storm may hit somewhere near Sea Beach.
Oh?
Yeah, could be a hundred miles either way.
Some of the guests are kind of nervous.
Hey, could you and Joyce come down and help me keep their minds off it?
Sure, Al, sure, sure. What's a little hurricane?
Um, is that blonde I danced with last night around?
Oh, yeah, yeah, I saw her in the bar.
Have her meet me on the floor.
The sky-filling haze thickens.
The barometer drops suddenly, and it can almost be felt.
Then, seaward, on the edge of the horizon, a low gray curve appears.
It climbs slowly, grows darker.
Then stands there, congealing its power into an ugly, bluish-black mass.
Then, steadied and deliberate, the great windmills of the storm.
Then, steadied and deliberate, the great wind monster moves toward the land.
Auto Light is bringing you Mr. Frank Lovejoy with Joan Banks in The Storm,
tonight's presentation in radio's outstanding theater of thrills, Suspense.
Say, Hap, do you know who developed the first two-unit, six-volt electrical system used as original equipment?
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Those Auto Light electrical systems must really have it, Harlow.
Yes, sir. Every unit is perfectly related by Auto Light engineering design and manufacturing skill
to give the smoothest performance money can buy.
So, friends, be sure you get the best for your Auto Light-equipped car.
Insist on Auto Light original service parts.
And remember, from bumper to tail light, you're always right with Auto Light.
And now, Auto Light brings back to our Hollywood soundstage Mr. Frank Lovejoy
in Elliot Lewis's production of The Storm, a tale well calculated to keep you in suspense.
The sky darkens, lowering ominously, and from horizon to shore, the sea boils white with rage.
The rain is continuous now, falling harder and harder.
Then from the approaching edge of fury, the first flicking fingers gouge through the rain and touch land.
Over here, Larry.
Hello.
Oh, hi. Hi. What did you say your name was, honey?
Betty Ann. Betty Ann White. Do you want to see her with me?
I couldn't round up much of an orchestra.
That's okay. The piano's enough.
Where's George?
He's around. Look, Betty Ann.
I'll go find her.
What was the biggest thrill of my life, to dance with you last night, Mr. West?
Oh, it's really tormenting, isn't it?
You scared?
Me?
My, no. I've been through storms before.
Come on. You know, you danced pretty good last night.
Huh?
How would you like to entertain the folks?
Huh? You mean you and me? In front of those people?
Sure, sure. You like to dance?
I'd be some way, sir. That scares me. I just couldn't.
Why, sure you can. Come on. I'll make you look great.
The first winds churn up the beaches, whirl inland, shudder against walls and wind past, trees groan, the lighter branches crack and fly off, a board rattles on a flimsy wooden shack, tears loose and hurtles through the air.
Come on, listen up, honey. They're all watching.
I-I-I'm sorry.
Relax. There's nothing to it. Now, spin toward the window.
I think I got it now. You mean that thing?
Spin, honey. Spin.
I'm sorry.
Betty! Betty!
What happened?
I mean, how did she?
Barry, what happened?
Oh, no. That was crazy. The window just shattered the glass. Hit her all over. I think she...
Please, folks! She's going to be all right. If I go into the lobby or the bar, everything's going to be all right.
Al, she's not gonna be all right.
I know, I know. I'll get some of the boys to move her. Come on.
Now, listen. Keep it quiet. The cops were by. They're warning everybody. The storm shifted. It's headed straight for C.B.
Where's Joyce?
I'm not sure. One of the bellboys saw her earlier. Said she looked pretty upset.
I know, yeah. We had an argument. Where is she?
Well, we checked all over.
Joyce! Joyce! At Larry, we looked every place.
You mean you let her go out?
If she took the car, the cops will stop her to get her off the street.
She didn't take the car. I got the keys in my pocket.
Oh, no, wait, Larry. It's a hurricane.
You can't go out there.
I'm out, Al. Let me go.
Larry!
I gotta find Joyce.
Joyce! Joyce! Joyce!
It's wind. I can't see.
Light off, will you?
That's it. Now we can get somewhere.
The preliminary winds passed. A pause. And then, bruising, tearing, whining, the thing steps to the land.
The sea drags up with it, roaring in twisted, foaming agony, and falls like cannon shot on all it can reach.
The rain no longer falls but hammers sideways with a force of bullets.
The palm trees bend almost sweep the ground.
More stubborn fronts offer resistance, then suddenly wrench from their roots.
The works of man tremble, shudder, and mighty man himself, caught in the open, is forced to return to all fours.
Joyce! Joyce! Joyce, where are you?
Hey! Hey, you!
Joyce!
This way, mister! This way!
I can't!
Roll!
Can't make your hands and knees!
Roll!
Hey! Enough!
Now, reach me your hand!
I can't!
Roll!
Can't make your hands and knees!
Roll!
Hey, enough! Now, reach me your hand!
Hey, that's it!
There you are!
You must be crazy, mister!
How'd you get out there?
I'm looking for my wife.
You can't find her now. You're lucky you're still alive.
She's out there. I've got to find her.
Listen, I'm trying to help you. Somebody's taking her, taking care of her someplace, too.
She's gonna be all right now.
Come on back inside.
No! You don't understand.
There's only one thing you understand, mister. That's a hurricane. It cuts everything aside.
Listen to me. I've got to find my wife.
You gotta wait till the comm sets in.
Comm?
At a hurricane's eye. You can get to the police station, then. They'll know where to find your wife.
One hour, two. The wind screams at a ninety, a hundred, a hundred and thirty miles an hour.
The light grows black, fingered with a weird electric blue.
Rooftops, flash in the streets. Broken power lines, spit ten thousand volt electrocutions.
Man sits in his trembling shelter, torrented by the wind.
The wind is so strong, it's like a
A hurricane is coming.
One hour, two. The wind screams at a ninety, a hundred, a hundred and thirty miles an hour.
The light grows black, fingered with a weird electric blue.
Rooftops, flash in the streets. Broken power lines, spit ten thousand volt electrocutions.
Man sits in his trembling shelter, torters on the edge of security with hollow fear in his eyes.
Then suddenly, without warning, the comm.
A weird, uneasy silence, surrounded by the force of hell.
Middle of the block there. That's the police station.
How long does the comm last?
Hard to tell. Hour, fifteen minutes.
Come on.
First, give me first aid.
Now, listen, I gotta find my wife.
What's her name?
Weston, Joyce Weston.
Mrs. Joyce Weston? Mrs. Joyce Weston? Mrs. Weston?
Sorry, buddy.
It's Larry, Joyce.
What about the fire station?
Could be. Red Cross is set up there.
Where is it?
Next block over Jackson Street.
Hey, buddy, you better stay here.
Her name is Weston, Joyce Weston.
I'm busy with the injured, mister. You'll have to look yourself.
Joyce. Joyce.
Monsieur. Monsieur. Monsieur.
Mr. Bidet.
My dogs, monsieur. Have you seen my dogs?
Look, I'm trying to find Joyce, my wife.
But my dogs, they broke away. I went after them.
Hey, will you listen to me?
My dogs.
Joyce. Joyce.
Larry.
You all right?
I'm fine, Larry. I'm fine.
Come on.
Wait, I've got to help you.
It'll keep. Come on.
Larry, wait a minute. The storm isn't over. This is just the crowd.
Yeah, I know.
Why did you run out? Teach me a lesson.
What?
It was pretty small time, Joyce. You left me in a pretty bad hole.
Wait a minute. Where are we going?
Back to the hotel. They're waiting for us.
You're crazy.
And I was crazy to kid myself that you actually came looking for me.
Look, Joyce, I'm not going to beg. I don't have to.
Oh, you're so big.
The Hurricane Supper, Larry Weston.
And you believe it, don't you? You really believe it.
Don't get me sore. They're waiting for us at the hotel now.
No, not us, Larry.
They're waiting for you, the Hurricane Supper.
Joyce.
I'm going back to the fire station.
Come on, Larry.
You don't need it, but life will look.
Okay.
Don't say I didn't give you the chance.
Your small time, I made you and the whole life.
I know how to beat me, make it the Hurricane.
I'm big. I'm big. I'm big.
The second wind struck, completing the infinite anger,
then passed on over the lowlands to the hills,
finally tearing its shrieking self apart.
The sun shines once more on a whipped and torn earth.
It is over.
And those who lived through it stir humbly.
Suspense, presented by Auto Light, tonight's star, Mr. Frank Lovejoy.
This is Harlow Wilcox again speaking for Auto Light,
world's largest independent manufacturer of automotive electrical equipment.
Auto Light is proud to serve the greatest names in the industry.
That's why during these early months of 53,
the Auto Light family joins in saluting the leading car manufacturers
who use Auto Light products as original equipment.
Our Auto Light family is made up of the nearly 30,000 men and women
in 28 great Auto Light plants from coast to coast
and in still other Auto Light plants in many foreign countries
and the more than 18,000 people who have invested a portion of their savings in Auto Light,
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Our Auto Light family will salute the Kaiser Fraser Sales Corporation
on the next Auto Light Suspense television program.
If you live in a television area, check the day and time of Suspense on television
so that you will be sure to see this program.
Music
Next week, a story based on fact and written by a master of suspense,
an adaptation of the 19th century born murder case called The Dead Alive.
Author, Wilkie Collins. Our star, Mr. Herbert Marshall.
That's next week on Suspense.
Suspense is produced and directed by Elliot Lewis.
The music composed by Lucian Morawick and conducted by Lutte Gluskin.
Portions of the program were transcribed.
The Storm was written for Suspense by Richard Chandley.
In tonight's story, Joan Banks was heard as Joyce.
Featured in the cast were Sharon Douglas, Joseph Kearns,
Ralph Sedan, Jerry Hausner, and Jim Nusser.
Your narrator, Larry Thor.
Frank Lovejoy appeared through the courtesy of Warner Brothers
and can soon be seen in House of Wax in three dimension and Warner color.
And remember next week, Mr. Herbert Marshall in The Dead Alive.
This is the CBS Radio Network.